So, I’ve been posting a bit more regularly to my blog, and I realized it would probably be good to let you guys know what I’ve been up to. I mean, I’ve actually been up to stuff. Are you surprised? Wait, don’t answer that.
Tag Archives: writing
Hello, everyone. It’s been…. quite awhile. One year, four months, and nine days to be precise. Yikes.
What have I been doing over the past year? Not a lot, honestly. OK, that’s not true at all. I’ve been busy, I just haven’t been writing. That kind of sucks, but it’s also been good in some ways, I think. I’ve taken some time to re-invest in my physical, mental, and emotional health through travel and running; worked really hard and grown a lot at my job; and done some definite values reassessing. But let’s get to some specifics, yeah? And then I can share some exciting news with you all! Continue reading
It’s vital that all authors find their own voice and strive toward a creative approach to their story. However, it’s also a little ridiculous to believe that all works of fiction must be entirely new and original. For instance, I grew a little nervous when a friend compared the magic system in my book to alchemy in Fullmetal Alchemist. But then, after considering historical precedent, I relaxed. After all, many of the great storytelling franchises relied heavily on past works. Here are three:
The Works of William Shakespeare
Assuming you believe Shakespeare existed (If you don’t, keep that opinion to yourself. This is a bard-friendly blog.), you are probably familiar with the fact that he did “borrow” the plots of most of his plays from other writers. One of those writers would be Geoffrey Chaucer. Like Shakespeare, Chaucer also borrowed many of his plots from other writers, including an Italian poet called Giovanni Boccaccio. A good example of this borrowing can be seen in Shakespeare’s play, Troilus and Cressida. Shakespeare’s plot was heavily influenced by that of Chaucer’s Troilus and Criseyde, which itself was influenced by Boccaccio’s Il Filostrato. So, even the great writers of history have stolen from each other from time to time.
The Lord of the Rings
Sometimes seen as the father of high fantasy, J.R.R. Tolkien is much loved and respected by readers the world over. I, too, love Tolkien; The Hobbit was one of the very first chapter books I ever read. It’s also well known that Tolkien based much of his world building on pre-existing cultures on Earth. Mythology too played a huge influence on Tolkien’s writing, a good example of which is displayed in Tolkien’s favorite plot device, The One Ring. Tolkien based his ring heavily off of Plato’s Ring of Gyges, a mythical artifact that turned the wearer invisible. Furthermore, the Ring of Gyges sparks a debate in Plato’s works between Socrates and another; they argue over whether that power would always be taken advantage of by the wearer, or if a just person could withstand it and resist his base desires. It’s pretty easy to see the link between the corruption of the Ring of Gyges and that of The One Ring; the biggest difference is that no one can resist The One Ring forever.
A cultural touchstone in its own right, many modern works owe a great deal to the Star Wars franchise. However, like the previously mentioned franchises, Star Wars owes much to other works. What resonates most with many fans of the original films was the blending of familiar elements (plots structures, character types) with futuristic settings. George Lucas pulled those familiar elements from mythology from around the world. For Luke’s journey in particular, Lucas relied heavily on the works of Joseph Campbell. And, lest I forget, I feel I should also mention the Japanese film The Hidden Fortress, directed by Akira Kurosawa. This film is told primarily from the perspective of two bickering peasants (not so different from C-3P0 and R2-D2), and also features a battle-hardened warrior (like Obi Wan Kenobi) and a rebellion-leading princess (like Princess Leia).
While I want my books to feel fresh and original, I also have to be aware that borrowing from other works is not a sin. I do feel, though, that I should be aware of my influences. One thing I do admire about George Lucas is that he has never shied away from giving credit to his influences. If nothing else, it’s a good way to introduce younger audiences to time-tested works.
How do you guys feel about borrowing from works? Should it be frowned on, or celebrated? Is there a line between the two, and when have you seen it crossed?
I love poetry, in all its forms. And guess what? April is National Poetry month. So, in celebration of this great art form, here are my favorite poems. My normal gig for listing my favorite things often includes my reasoning for each. However, I think I’ll withhold my analysis this week and just provide a simple list. For me, my experience of poetry is intimate and personal and sometimes it’s impossible to explain why I connect with a particular piece.
“Dulce et Decorum Est“, Wilfred Owen
“Ornithography“, Billy Collins
“The Weary Blues“, Langston Hughes
“Daddy“, Sylvia Plath
“Early in the Morning“, Li-Young Lee
As an extra present, here’s a link to 10 British poems being read aloud. They aren’t my favorite poems, but, for me, hearing poetry aloud is a true delight.
Do you guys have any favorite poems?
Worldbuilding is one of my favorite aspects of storytelling. Whether the story is fantasy, science fiction, or some dystopian future, a great world design can make or break a story’s credibility and inspire countless future stories. In celebration of this marvelous act of creation, I’m going to share two basic approaches to start building your new world.
But first, let’s discuss what worldbuilding actually means.
Worldbuilding is the creation of an imaginary setting, whether it be a small town or an entire universe. These imaginary worlds should have internal logic based on geography, history, biology, and so forth. They can be used for fictional novels, video games, tv shows, movies, and pretty much any other story-based media form. The best created worlds serve the story, enriching the setting of the characters and plot but not overwhelming them.
There are many aspects of a world you can latch onto when starting your story. However, I’ve found that there are two basic but reliable approaches to starting the worldbuilding process.
Top Down Approach
A fairly common approach to worldbuilding is what I like to call the top down approach. The concept is simple: you start with the details of the world you want to build, and then work backwards, figuring out the world’s history and so forth to support the end product you want. For instance, say I wanted to tell a story where my main character was a member of a tribe of blue-skinned people. To build a world to support this idea, I’d need to work backwards, and ask myself questions about how this group of people came to exist. Are they the only blue-skinned people in this world? Were they created by a higher being, or did they evolve? From these questions, I can start to branch off these few details I know and create a fully realized world.
The top down approach has its positives and negatives. It works well because it allows for a clear picture of the end product. In this way, it’s easier to not forget the story and be overwhelmed by the immensity of an imagined world. It helps with early character creation, too. However, if the creator doesn’t have a clear understanding of what the world should look like when they start, the top down approach might cause more problems than it solves. If I change my mind and make my blue-skinned people have the ability to fly, I might have to go back to the drawing board. So, for people without a clear picture of what sort of world they want their story to be set in, it’s better to start with the bottom up approach.
The Bottom Up Approach
The bottom up approach begins with the very foundation of the world you’re going to create. Basically, you start with creating a world (earth-like or not) to serve as your canvas. To this, you add geography. What does your world look like? Also, it’s a good idea to decide how the sciences play out in your world. Some storytellers are happy saying that physics, biology, chemistry, and so on are just like earth’s. That is just fine. However, if you want to play around with those, feel free. Just make sure you research things so they stay internally logical. If you want to build a world where photosynthesis doesn’t exist, you better know what photosynthesis is and why it’s important for plants. Now is also a good time to decide if your world has some special aspect, such as magic or a unique energy source.
Once you have your foundation, it’s time to add the people/life forms that inhabit this world. How does this environment affect them? It’s probably not a homogeneous group (and if it is homogeneous, you better have a darn good reason why), so adding various cultural makeups is a good idea. From here, it’s a matter of figuring out details like language, politics, history, and so on before refining the final product to fit your story. It’s important to keep that internal logic you spent so much time crafting, but you also want to make sure you leave room for your story. Hopefully a this point your imagination is firing on all cylinders, and you’ve found a great source of conflict or a really interesting idea for a main character.
So, how do you guys feel about worldbuilding? I’m considering writing a second post with finer details about what we need to think about when we build a world, like infrastructure and political systems. Would that interest people?
P.S. Sorry I missed last week’s post. My husband and I were a bit under the weather, and also I’ve been trying to finish my latest draft of Footfall.
Literature is full of great, timeless friendships. Currently, however, there is a scarcity of really great female friendships circulating publishing these days, especially YA. This is sad, because with all the great heroines we’re getting, it seems a massive oversight. Look at The Fault in Our Stars, a great YA book with a female heroine and no important female friendship of note. Or, even consider The Hunger Games. Again, there is a strong female character, but Katniss’s most important female friendship is with her little sister (who she sees almost as a daughter to be protected).
I’m so interested by female friendships because I see them as a key cornerstone in establishing more diverse books. If a story’s heroine has a solid relationship with her female friend, it also goes to say that the book has more than one female character. Also, the great friendships show that a woman can draw strength from her relationships without having to relate through a man.
So, to remind the world that lady friendships can rock in works of fiction, here are my four favorite female friendships from classic British Literature*.
Elizabeth Bennet and Charlotte Lucas: Pride and Prejudice by Jane Austen
The relationship between main character Elizabeth Bennet and her friend Charlotte Lucas offers a great example of a female friendship. Both women depend on the other for emotional support. Even though Pride and Prejudice is seen as a great romance novel, Elizabeth and Charlotte’s relationship is not defined or motivated by either one’s relationship to Mr. Darcy, Mr. Collins, or any other man. Another reason Elizabeth and Charlotte’s relationship is so great is because it’s not even intrinsic to the plot. I feel a lot of writers worry that if they invest too much into a pair of characters’ relationship to one another, it’ll overshadow another relationship. However, with Lizzy and Charlotte we see a natural, important female friendship that does not overshadow any other aspect of the book. Another bonus to Pride and Prejudice is that Elizabeth is really good friends with her sister Jane as well. So, we not only have one great female friendship, we have two!
Jane Eyre and Helen Burns: Jane Eyre by Charlotte Bronte
I first read Jane Eyre at a point in my life when I still enjoyed reading romance, and petulant, Byronic male love interests were my favorite. However, if we look at the tragically short relationship between school-aged Jane Eyre and her friend Helen Burns, we see a beautiful female friendship. What I love most about Helen and Jane’s relationship is how much Jane grows from it. Jane has a hard upbringing, but from Helen she learns not just kindness, but also how to deal with the idea of people not liking her through no fault of her own. This is a hard life lesson, but a genuine one that Jane carries with her for the rest of her life.
Beatrice and Hero: Much Ado About Nothing by William Shakespeare
Cousins, Beatrice and Hero are an example of how even relatives can become great friends. Beatrice teases Hero about her affections for Claudio, and Hero schemes to get Beatrice and Benedick together. Their affection for one another is genuine and free of petty jealousies and rivalries. In fact, when Claudio accuses Hero of being *ahem* not a maiden and breaks off their engagement, Beatrice storms into one of my favorite lines in the play:
Is [Claudio] not approved in the height a villain, that
hath slander’d, scorn’d, dishonour’d my kins-
woman?–O that I were a man!–What, bear her
in hand until they come to take hands; and then,
with public accusation, uncover’d slander, un-
mitigated rancour,–O God, that I were a man! I
would eat his heart in the market-place.
You read right folks. Beatrice just threatened to eat the heart of the man who scorned her best friend. It’s just so awesome. There’s so much solidarity between Beatrice and Hero.
Clarissa Dalloway and Sally Seton: Mrs. Dalloway by Virginia Woolf
There’s a passion and uniqueness to Clarissa and Sally’s relationship. Clarissa loves Sally’s lack of inhibition and frankness. Clarissa even recounts Sally kissing her in the garden to relay an element of sexual tension in their relationship. What I love most about Clarissa and Sally’s relationship is how it spans years. It does not end with Clarissa’s youth, but continues on into their adulthood. Also, even though Clarissa and Sally have not seen each other for some time, when Sally arrives at a party Clarissa throws she still clearly considers Clarissa a very close friend.
So, what are your favorite female friendships? Can you think of any great friendships from modern literature, film, or television?
*I studied mostly British literature in college; hence, my favorites are all from British literature.
Last week I discussed a few of what I see as the key archetypes for villains in literature and pop culture. I had a lot of fun researching it, but the discussion left me wondering what separated my favorite villains from the rest. In other words, what makes a good villain. Continue reading
Villains are a great storytelling tool. Not only do they usually fulfill the role of antagonist, the opposing force to the protagonist, they also serve as a source of bad or evil in the world they inhabit. Without a villain, our hero’s morals would never be tested. Continue reading
Not every writer wants to or can listen to music while they write. I know there are some days where any form of sound, music or otherwise, will distract me or throw off the natural rhythm of my typing. However, there are times where I really do need music to help me set the scene in my head. For those times, I have a ready list of go-to tunes that help me reach my emotional center. Here are my seven favorite songs to listen to while I write. Continue reading