Category Archives: Craft & Technique

Focused Ambiguity: Using Metaphor in Fantasy Writing

This article is by Walter Rhein.

Star TrekThere is an inherent paradox in the phrase “focused ambiguity”. Yet the disconnect achieved by putting those two words together approximates the mental state necessary for writing good fantasy.

One of the big mistakes a lot of new writers make in their world building is too much of a focus on practical construction. However, unless the overall theme of your fantasy book is economics, you really don’t need to explain how your “diamond city in the desert” gets enough drinking water to support its population.

An effective novel always has a strong connective thread, and, in fantasy, every character, setting, and action can be molded to function as an integral part of the extended metaphor that supports the novel’s overall theme.Continue Reading

Writing Warfare in Fantasy: A Guide to the Battle Scene

battlefieldThis article is by Aaron Prince.

Few words are as synonymous with mankind as War. As writers, war often influences the stories that we tell. People remember wars, people remember battles, and often these moments are when characters shine, plots reach the point of climax, and readers are drawn into a visceral experience that they won’t forget.

To write about war, to describe battle and it’s horrors, we must first have a basic grasp of this human creation. War is not a jaunt through a field of roses that leaves you smelling fresh on the other side, and should not be depicted as such. Understand war’s meaning first, and then write.

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Speaking of Thorns – Interview with Mark Lawrence

prince of thornsMark Lawrence is the author of Prince of Thorns, King of Thorns, and Emperor of Thorns.

His latest novel, Prince of Fools, will be released in June 2014.

Literature has depicted violence since the earliest records. Even the “high fantasy” subgenre has heroes we physically associate with killing troves of orcs. What is it in the “grimdark” subgenre that ruffles so many feathers?

No idea! I don’t even know what “grimdark” is. People back off rapidly if you ask them to actually define it. It seems to be shorthand for ‘this thing I don’t like’ … and given that the things people don’t like are as diverse as the things people do like … it ends up pretty meaningless, generally a form of slur.Continue Reading

How To Hook Your Audience

This article is by Craig W. Van Sickle & Steven Long Mitchell.

the-pretenderWhile novels, graphic novels, television or motion picture scripts each present writers with different formats, narrative challenges and audience expectations, they all have one very simple commonality at their heart: telling a great story that hooks, pulls in and holds its consumer.

Simple, right? Well, as they say in novel writing circles, if writing were easy, everyone would be Stephen King.

Truth is, no matter what medium, defining and learning how to hook your audience can actually be very simple if we just break down the elements of storytelling into small, manageable segments.Continue Reading

5 Reasons Why Narration Can Work in Fiction

This article is by Anne Marie Gazzolo.

BilboAuthors can use narrators in many different ways to add value to any story. Among them, they can speak directly and indirectly to their audience, inform the readers of things not even the characters inside the story know, give a look into the heart and soul of the heroes and villains, and praise or condemn them for their actions.

Here are five reasons why you should consider using one:Continue Reading

Making Romance Epic – 5 Tips for Writers

Romantic relationships are a part of being human.

Not every novel needs a romantic subplot. But given enough time and depth, most characters will develop that side of their lives. If we’re ignoring love, we aren’t writing fully realized characters.

If we as writers can tap into the allure and mystery of romance, we have the opportunity to evoke more powerful and compelling emotions through our stories.

Here are five tips for making this happen:Continue Reading

How to Kill Your Main Character

ExecutionerThis article is by Rhiannon Paille.

Catching Fire, the edgy, emotional, and jarring sequel to Suzanne Collin’s The Hunger Games trilogy pushed the boundaries, pitting teens against teens in a battle royale to the death, winner takes all. In light of the popular Suzanne Collin’s books, everyone is looking for a way to up the ante and do the unthinkable.

What’s more unthinkable than killing your main character?

As a young adult fantasy author who killed my main character in The Ferryman + The Flame series, I thought I’d give you some insight into the epic thought process that lead to the untimely death of Kaliel, The Amethyst Flame.Continue Reading

6 Tips for Writing a Knockout Fight Scene

The Jason Statham
The Jason Statham

Hey, you. Yes, you!

Do you have doubts as to whether or not your puny fingers can punch out what happens during a fight?

Most writer-types aren’t the kind who frequent underground fighting rings, so conveying what a fight is like through writing isn’t the easiest thing to do. And I’m not going to recommend that you go out and assault someone to gain experience, because, you know, jail and stuff.

Have no fear, comrade! By the end of this article you’ll have grown a beard worthy of Valhalla, and you’ll be able to write with such brutality and carnage that you’ll make Sylvester Stallone shed a tear. I’ll turn you into a keyboard crusader, yet!Continue Reading

Writing Historical Fantasy – Interview with Ian Tregillis

Something More Than NightIan Tregillis is the author of the Milkweed Triptych trilogy, and is a contributor to George R. R. Martin’s Wild Cards series.  His latest book is Something More Than Night, a noir urban fantasy detective story of fallen angels and nightclub stigmatics.

He joins us to answer questions on writing both historical fantasy and alternate history.

Your work is described as either historical fantasy or alternate history.  For readers who aren’t familiar with the differences between the two, could you explain how your work gains these descriptions?

I imagine that people who know me, or my background, must feel confused when they hear me described as a writer of historically influenced novels.  It surprises me, too, though I understand why it happens.Continue Reading

Mastering Multiple POV in 6 Steps

Eddard Stark
Eddard Stark

Multiple POV storytelling has a bad rap.

Sure, the practice of splitting a single narrative across multiple characters’ perspectives has a long history. And its popularity continues to expand as our society grows ever more distrustful of singular truth, in favor of individual realities.

But multiple POV writing is not without its critics—and some of them are quite loud. Many writers and readers complain about poor or confusing execution. Others cite their traditional literary tastes. Why hop between multiple character’s minds, they argue, when you could tell a story more simply through one pair of eyes?Continue Reading