Hello everyone, Spring is upon us. To start the season off, I’m introducing an interesting writing form known as haiku. I learned about this art style from a monthly writers’ group some time ago—and I wrote up a few examples to share with you all. With that said, let’s delve into it! 🙂
Haiku is a short-form poetry originating from Japan. The general structure of a haiku poem is simple, but the meaning is usually deep and spiritual. It uses a few words to evoke vivid imagery in the reader’s mind.
There is a sense of stillness and wonderment within the words, as if for meditation. Many famous haikus are short and simple while packing a punch—so to speak.
Haiku is usually in three lines of words. The first line has five syllables, while the second line has seven syllables, and the third line has five again.
To reiterate, haiku poems usually focus on the following:
Life and its fleeting moments
A haiku may have a “season word” like rainfall or snow, telling the reader what season it is and adding depth to the imagery. There may be a division in the poem, shifting from one focus to another. Instead of describing how a scene makes the author feel, the writer illustrates the details that evoked said emotions
How to Write Haiku
Here are some step-by-step instructions if you’re interested in writing your own haiku.
Relax and focus on your five senses, sight, hearing, smell, taste, touch. Look out your window or perhaps at a scenic picture for inspiration.
Describe the details that stir emotion. Just jot down brief notes or words, for now—nothing complicated.
Next, form two sentences about what you have observed. Don’t worry about syllables yet.
Write the third line with a surprising twist compared to the first two. Does the combination of the two unrelated parts imply anything interesting? What is the message being described by the whole haiku?
Finally, rewrite the poem using the 5-7-5 syllable rule. Experiment and see if you can deepen the poem’s impact.
Here are some of the poems I wrote up for my writers’ group. I hope you enjoy.
Leaves fall from the tree
Quickly, they glide towards the Earth
Wind in the heavens
The many hills shake
Trees fall and explode anew
Birds cry with terror
The lake becomes still
Like a mirror, the surface
Peace consumes chaos
The sun rises high
The new day is coming soon
Rainbow bulbs sprout below
Singing softly nature
Peace above and below Earth
Stillness, now evermore
Thanks for reading. I’m playing around with some new designs with my blog and testing them out. I’m also merging my blog with Mailchimp (still in testing). I plan to send out blog news and free gifts once I get it up and running! 🙂
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Until next time, stay safe and enjoy the warm weather. 😀
Hello, my readers, to another installation about fictional worlds! It’s been a stressful time for all of us, so I wanted to entertain you with another post of mine: Villains in Fiction!
Last time, I discussed the purpose of disease in fiction. In many ways, disease is like an invisible antagonist that cannot be seen—but what about the villains that can be seen? What are they all about? What different types of villains in fiction are there? Let’s dig into it!
“Each film is only as good as its villain. Since the heroes and the gimmicks tend to repeat from film to film, only a great villain can transform a good try into a triumph.” — Roger Ebert
Throughout human history, each movie, each story tale, has a villain. Some love them, others hate them, or even love to hate these nifty characters. They are the individuals who forge dynamic prose and brilliant screenplay—epic scenes and heart wrenching moments.
While a villain is selfish, naughty, or seeks to harm people, an antagonist—strictly speaking—is the opposing force of the protagonist, the lead of the plot with sympathic values towards the audience. Quite often, villains are the antagonist. However, you can have a villain as the protagonist—or even a hero as the antagonist!
An antagonist can help drive the narrative forward, develop the protagonist, and add color to worldbuilding. A villain is seen as “evil” to the eyes of the hero, but this is subjective. You could, for example, have a character appear as a villain from the viewpoint of most of the characters, but to others the villain seems neutral or even righteous.
Here are some types of villains I’ve chosen to examine. This list is by no means exhaustive.
I. The Anti-hero
In the case where the villain is the protagonist, you get an Anti-hero. Although evil, the Anti-hero believes in doing what he or she thinks is right. The Anti-hero establishes sympathetic relations with the audience and drives the plot forward through heinous acts. An Anti-hero usually has three important traits, which you can read more about here.
2. The Anti-villain
Conversely, an Anti-villain is a character with strong morals, yet accomplishes evil in the long-run. Perhaps an Anti-villain is a priest, wishing to purge “evil”, but he or she commits heinous acts to achieve this. Once again, “evil” is subjective to readers and other characters.
3. The Visionary
The Visionary sees the world in a demented state and wishes to fix it. These types of villains believe they are doing good—despite the fact they may be collapsing economies and killing millions, and they see the hero as an “evil” interloper.
4. The Madman
These types of villains are psychopathic and enjoy being evil, causing mischief, or hurting others for the fun of it. The Madman may have a sense of humor, in the case of the Joker, or even a ruthless, calculating demeanor like Lex Luthor. They will throw whatever resources they have at the hero, even if it costs them their life.
5. Femme Fatale
Seductress, siren, temptress—the Femme Fatale is a female character with malicious intent. Often she seduces the hero in clever ways, provoking him/her towards actions of moral ambiguity. The Femme Fatale may promise the hero power, clout, wealth, or even sex for surrendering to her.
6. The Beast
The Beast is a feral animal or a monster, with a desire to feed, gain territory, rampage, and reproduce. It has a primitive mind and cannot be reasoned with. Some beasts may appear justified for their rampage, like in the case of Godzilla. Others are confused and lost in modern society as with King Kong.
7. The Machine
Similar to the Beast, the Machine has one motive: disrupting the hero’s plans. The Machine is pure logic and can be even more dangerous with its lack of morals and emotions. See the Terminator series as an example.
8. Evil Incarnate
Some villains are pure evil by nature. Dark gods or devil embodiments do heinous acts because it’s what they do. Sauron in The Lord of the Rings is innately evil, and opposes Frodo’s quest to destroy the Ring. Sometimes these types of villains have certain morals they follow, a code that guides them to destroy.
9. The Outsider
The Outsider is an outcast or disliked minority, detached from the world. Though intelligent and experienced, the Outsider is bitter towards society and holds a degree of vengeance. Outsiders may also have a cult following who champion their cause. Motivated by this revenge, the Outsider is led to commit vile acts, often opposing the society-accepted-protagonist—whom the Outsider also despises.
Nothing can oppose the will of Mother Nature, and unlike other villains, this variant can seldom can stopped. The hero must discover how to mitigate the damage, whether from a storm, a virus, or violent earth changes. Fortunately, conflicts caused by Mother Nature typically resolve on their own once balance is restored.
11. The Authority Figure
The Authority Figure is in charge of a lawful system, and he or she seeks to maintain said system through rules. This villain symbolizes restriction and control, whereas the hero may want freedom. Authority Figures are seen in a wide variety of genres—and they can be anything from a school principal, a police chief, or an emperor. While not wholly evil, Authority Figures only wish to maintain the status quo and do their jobs.
Other Villains in Fiction
There are numerous categories of villains in fiction, such as the Mastermind, a criminal overlord; the Henchman, who follows the Mastermind—and others. Some villains fall in multiple categories—they are a difficult breed to classify, and considerably more interesting than the cliché heroes that are often repeated. I encourage you to check thesetwo articles out for more information.
An original hero will often break away from traditional stereotypes and establish his or her own set of moral values, not necessarily agreeing with society. Perhaps this is why an audience finds Anti-heroes more engaging and reflective of human nature. Anti-heroes also struggle more internally and this plays better with the audience.
Thank you for reading! Stay tuned for more content during this Quarantine with yours truly—and stay safe. 🙂
Hello, my readers. Today let’s discuss something that’s been on all our minds recently. Yup, that’s right—diseases in fiction. Right now, the world is in flux over the Coronavirus. It has created a bizarre, paranormal society where we’re all confined to our homes, some of us without jobs. The Coronavirus is like this invisible antagonist, challenging all of us right now.
“Plagues are like imponderable dangers that surprise people…” —Gabriel García Márquez
This makes one think: how would such events play into fictional stories? What examples do we see in published works for diseases in fiction?
—A List of Fictional Viruses—
Below is a list of diseases in fiction. These should give you ideas of how authors design them, both in fantasy and science fiction.
If you’ve read Game of Thrones, you’ve run into this ailment. It’s a horrible disease that cause a person’s flesh—and later internal organs—to harden and die. Necrotic flesh coats the victim’s body, offering the appearance of cracked stone.
2. White Blindness
In the book, Blindness, by Jose Saramago, the disease robs its victims of eyesight. The protagonist is a woman who is immune to the ailment. Able to witness the world around her, the heroine must guide her comrades to safety.
Created by Dan Brown, the Inferno virus renders people infertile. Used by the antagonists as a waterborne agent—and later an airborne one—this disease serves as a potent vector for conflict.
4. Nanoprobe Virus
No so much a biological virus as a form of nanotechnology, the Nanoprobe Virus is used by the Borg in Star Trek to gradually assimilate organic life forms. Victims become drones for the Borg Collective as nanotechnology slowly takes over their bodies.
5. Tyrant Virus
Also known as the “t-virus”, this disease defines the Resident Evil series. Developed by the Umbrella Corporation, the virus was designed as a eugenics project to cull world population and build an army of bioweapons—namely zombies. Umbrella eventually designed variants of the t-virus that affect victims in different ways.
6. Flare Virus
Found in the Maze Runner movies, the Flare Virus eats away at a person’s brain until they become mindless zombies. Like the Tyrant Virus in Resident Evil, the Flare Virus was designed by scientists to reduce world population.
—What Does a Disease/Pandemic Do to a World?—
Diseases are—surprisingly—versatile and useful in fictional worlds. An author, if clever, can use this disease as a plot device to strengthen characters and move the story forward. Disease can also be used to create conflict and established a degree of worldbuilding.
1. An Invisible Antagonist
Heroes can defeat a villain they can see and touch—but what about an antagonist that is invisible? Nothing evokes fear in a character like impotence. Finding a cure, or elixir, may be the only hope in defeating this intangible opponent.
2. Atypical Conflict
Diseases in fiction offer an unusual form of conflict—even better if the disease afflicts characters that the hero cares about. Mental illnesses can add further depth to the conflict, as the victim may experience situations that alter memory or cognition—even turning them into an aggressive mutant or monster. Now the hero may have to fight a loved one, offering moral conflict in the protagonist’s conscious.
A pandemic forces a society to explore its resources, introducing the reader to what’s in the fictional world. An economic slowdown—like we see in the real world—causes shortages of goods and services, forces people into a different state of mind, and encourages innovation in characters.
In short, a virus exposes the innards of a fictional world and allows a reader to become intimate with it.
Diseases in fiction—whether biological, artificial, or magical—drives plot and character progression in a fictional world. It creates atypical conflict that exposes the underbelly of a society—not just in the protagonist—and allows the reader to dissect the morals, financial resources, and technology of an afflicted civilization.
Thank you reading, as always! During these troubling times, perhaps we can derive some meaning from the Coronavirus and how it is exposing our society. Like the heroes of old, we too can defeat this invisible foe and establish a stronger, more orderly world if by learning from our own mistakes and what habits we have buried throughout the years. That said, maybe this virus can be seen as a good thing—a source of inspiration and growth for the human spirit.
Stay safe and healthy out there. And remember, we’re all in this together. 🙂
Hello, all! I’m getting ready to advertise my upcoming book, Blade of Dragons! Below is an excerpt from chapter 1 of the current manuscript. It’s undergone many changes in the past couple months after several revision passes and feedback from betas.
I’m excited that this project is finally reaching the next stage of its evolution, as I’ll be looking for an agent and maybe a cover artist within the next several months—provided that the Coronavirus situation has stabilized. I am looking for one more beta reader, if possible—let me know if you’re interested.
Anyway, without further ado, here’s the excerpt. I do hope you enjoy it!
Blinking at the brilliance of the Twins, Pepper tilted her chin up to bathe in the sunlight if only to forget her troubles. Curling her toes in the dirt, she allowed the earth to swallow her feet. The grasslands stretched into the horizon like a blanket of green along the Fertile Crescent, heightening her comfort. In the distance, a few egg-shaped barns situated next to her pyramidal house, set with gemstone spires. Winterwall lay along the horizon, its snowy peaks piercing the sky.
With the drone of insects in her ears, she closed her eyes briefly to allow a breeze to rustle her hair—the familiar smell of manure on the wind. The climate was humid but balanced with a gentle breeze—typical Springcrest weather.
Pepper dug into her pocket and withdrew a golden coin. Along the penny’s worn edges was the depiction of a gauntlet shrouded in vines. Underneath the design was curvy Atläsian cuneiform.
It was the Slyhart family emblem. Pepper rarely went anywhere without it, and in some ways, it was a reminder of who she was—a Slyhart, not some animal or pariah. She placed the coin to the ground.
“Check for messages,” she said.
The penny flashed in response. “Checking etheric archives now, please wait,” it whirred.
From the coin, a light shot up a few inches high. The image of her father appeared with his red hair tied in a long ponytail. He was indeed athletic and tall, a splitting image of Pepper. A red goatee jutted from his chin, and he wore a blue jacket with a sword strapped to his undershirt, a pistol at his belt.
A second image appeared—her mother, in a silver dress and a green braid. She bore a stubby tail and pointed ears like Pepper, but had the addition of leathery wings behind her that the latter lacked. She frowned and hugged the redheaded man. “We hope this message reaches you well, dear. We’ll be home soon. There’s extra food and a month’s worth of melkä coins if you need it. Please promise to stay out of trouble and watch over the farm.”
“Your mom and I will be home as soon as we can,” the man promised. “It’ll be safer if you remain home. We’ll see you soon.”
He smiled as his silhouette wavered with the woman.
Pepper sighed and her shoulders sagged. That was the third message this month. The farm needed daily attention—and Pepper had promised her parents that she’d do it. She was never one to break a promise.
Putting the coin away, she whispered to herself, “Don’t worry, mom, dad. I’ll take good care of the farm.”
From her other pocket, she pulled out a fist-sized crystal of aquamarine. The stone, cold and jagged, shimmered like water. She whispered a mantra, and mist spouted from the stone, drenching the rows of crops around her.
Smiling, she spread her arms while the droplets of cool water covered her body. The crystal shrieked with a flash upon completion. You could never have enough water for your farm—and only a hundred more plots to go for the day. She rolled her eyes and shifted her shoulders, eager to complete her chores for the day.
“I see you’re still enjoying the farm, Pepper Slyhart,” said a soft voice.
When we think of the word sound, the last thing we may associate it with are words and phrases. However, sound and writing go hand-in-hand. Recently, I learned from a writing class how important sounds can be for strengthening prose—what a shocker!
In this article, I’ll discuss the various definitions and techniques that are often used. Many thanks to Mark Nichol for the awesome advice!
—Sonal Techniques in Writing—
Alliteration is the pattern of multiple words in the same phrase with the same consonant sound. Here’s an example:
“Squaring our performances with our promises, we will proceed to the fulfillment of the party’s mission.”
Notice how performances and promises ring together? It provokes the reader subconsciously, so to associate those two concepts together and highlighting a theme of success. Process and party could also be associated.
“They have served tour after tour of duty in distant, different, and difficult places.”
In this passage, distant, different, and difficult highlights the arduous adventure being described.
Similar to alliteration, assonance involves the repetition of certain vowels, especially in stressed syllables, but with different consonant sounds.
“Men sell the wedding bells.”
“Goand mow the lawn.”
In the above examples, sell and bells followed by go and mow are what highlight the assonance.
Can you guess what this term implies? That’s right, the repetition of consonants, particularly at the end of a word.
“Their maid has spread the word of their deed.”
“Cheer and beer go with sorrow and tomorrow.”
Here, you have maid, spread, word, and deed. Cheer and beer with sorrow and tomorrow make another pair. The word pairs doesn’t have to rhyme, only share the final sound—rhyming comes later. 🙂
When you have words that translate as sound effects, this is onomatopoeia.
“A splash disturbed the hush of the droning afternoon.”
“Her heels clackedon the hardwood floor.”
Repetition is, well, repeating a word or phrase to emphasize the message of a passage.
“When we arrive at the store, we will buy something. When we buy something, we will pay for it. When we pay for it, we will take it home.”
“When I find you, I will catch you. When I catch you, I will cook you. When I cook you, I will eat you.”
These examples creates a percussive effect on the reader’s mind to push the meaning of the passage.
This one should be a given, or else the writer may be forgiven (hahaha ehem…). Poetry often makes use of rhymes, but normal prose can too! In fact, here’s a nifty tool I discovered that helps with rhyme words. Enjoy.
With rhythm, the prose is altered to create tempo.
“The eager coursing of the strident hounds
And the sudden pursuit of the mounted men
Drove the bounding prey ever on.”
Here’s an example taken from Dr. Seuss:
“I’m Yertle the Turtle!
Oh, marvelous me!
For I am the ruler
of all that I see!”
Shorter tempo creates a faster rhythm, and vice versa. With the proper rhythm, sentence length, and prose structure, a writer can add depth and even emotion to prose.
When we describe sounds, we lean on the other four senses (touch, taste, smell, and sight) to paint a picture. Here’s a list of ways to describe sound in writing. Credit goes to Amanda Patterson.
General Words Describing Sounds
audible – a sound that is loud enough to hear
broken – a sound that has spaces in it
emit – to make a sound
grinding – a sound of one hard thing moving against another
hushed – a sound that is quiet
inaudible – a sound that is difficult to hear
monotonous – a sound that is always the same and never gets louder or quieter, or higher or lower
muffled – a sound that is not easy to hear because it is blocked by something
plaintive – a sound that has a sad quality
rhythmic – a sound that has a clear, regular pattern
staccato – a sound where each word or sound is clearly separate
Describing Pleasing Sounds
dulcet – soft and pleasant
lilting – a sound that has a rising and falling pattern
listenable – easy to listen to
mellow – a soft, smooth, pleasant sound
melodic – beautiful sound
musical – sounds like music
pure – a clear, beautiful sound
rich – a sound that is strong in a pleasant way
soft – quiet and peaceful
sonorous – a sound that is deep and strong in a pleasant way
sweet – a pleasant sound
Describing Noisy Sounds
at full blast – as loudly as possible
almighty – used for emphasising how loud something is
brassy – a sound that is loud and unpleasant
deafening – a sound so loud you cannot hear anything else
ear-splitting – extremely loud
explosive – a sound that is loud and unexpected
howling – a continuous, low, loud noise
insistent – a continuous, loud, strong noise
loud – a sound that is strong and very easy to hear
percussive – a sound that is short, like someone hitting a drum
piercing – a sound that is very loud, high, and unpleasant
pulsating – strong, regular pattern
raucous – rude, violent, noisy
resounding – a sound that is loud and that continues for a while
riotous – lively and noisy
roaring – a deep, loud noise
rowdy – noisy and causing trouble
sharp – a sound that is sudden and loud
shrill – a sound that is loud, high, and unpleasant
thundering – extremely loud
thunderous – loud
tumultuous – a sound that includes noise, excitement, activity, or violence
uproarious – extremely noisy
Words That Help You Show And Not Tell
babble – a gentle, pleasant sound of water as it moves along in a river
bang – to move, making loud noises
beep – a short high sound or several short high sounds
blare – to make a loud and unpleasant noise
blast – to make a loud sound with a car horn
bleep – a short high sound or several short high sounds
boom – to make a deep loud sound that continues for some time
caterwaul – an unpleasant loud high noise
chime – a high ringing sound like a bell or set of bells
chink – a high ringing sound when knocked together, or to make something do this
clack -to make a short loud sound like one hard object hitting against another
clang – a loud, metallic sound
clank – a short, loud sound
clash – a loud, metallic sound
clatter – a series of short, sharp noises
click – a short sound like the sound when you press a switch
clink – to make the short high sound of glass or metal objects hitting each other, or to cause objects to make this sound
cluck – to make a short, low sound with your tongue
crash – a sudden loud noise, as if something is being hit
creak – if something creaks, especially something wooden, it makes a high noise when it moves or when you put weight on it
drone – to make a low continuous noise
fizz – a soft sound that small gas bubbles make when they burst
groan – a long, low, sound
growl – a low, unpleasant noise
grunt – to make a short low sound in your throat and nose at the same time
gurgle – the low sound water makes when it is poured quickly from a bottle
honk – to make a loud noise using a horn, especially the horn of a car
hoot – to make a short loud sound as a warning
mewl – crying with a soft, high sound
moan – a long, low sound
neigh – to make a high loud sound like a horse’s neigh
peal – if a bell peals, or if someone peals it, it makes a loud sound
peep – if a car’s horn peeps, it makes a sound
ping – to make a short high sound like the sound of a small bell
pipe – to make a very high sound, or to speak in a very high voice
pop – a sudden noise like a small explosion
putter – a short, quiet, low sound at a slow speed
ring – to make a bell produce a sound
roar – to make a continuous, very loud noise
rumble – a continuous deep sound
scream – to make a very loud high noise
scream – to make a very loud high noise
screech – to make a loud, high, and unpleasant noise
scrunch – to make a loud noise like something being crushed
sigh – a long, soft, low sound
squeak – to make a short, high noise
squeal – to make a long high sound
squee – to make a loud high noise because you are excited or happy
thrum- to make a low regular noise like one object gently hitting another many times
thud – a dull sound when falling or hitting something
thump – to hit against something with a low loud sound
tinkle – to make a high, ringing sound
wail – to make a long, high sound
wheeze – a high sound, as though a lot of air is being pushed through it
whine – a high, loud sound
whirr – a fast, repeated, quiet sound
whisper – to make a quiet, gentle sound
whistle – to make a high sound by forcing air through your mouth in order to get someone’s attention
yelp – a short, loud, high sound, usually caused by excitement, anger, or pain
yowl – a long, loud, unhappy sound or complaint
Writing sound is a fun process that adds depth and life to prose. Becareful not to overdo it, though. We should make sure sounds make sense, have a purpose, and relate to our writing. In more serious genres, less is better. Poetry and inane novels (like Dr. Seuss) can get away with it more.
Thanks for reading, and enjoy the lovely Spring weather—well, it’s gotten warmer where I am at least. 😛
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Hello, my readers, to another blog post from yours truly. Experts believe that everything has “already been written” or that originality no longer exists in the writing world. To abbreviate this notion, we’ll call it the Tolkien Hypothesis for this article—yes, I made it up, but bare with me.
—Originality in Writing—
What is originality, and how does it come about? If you look at stories written today, you can find several Harry Potter doppelgangers, a LOTR inspired tale here, and maybe a Star Wars look-a-like there. Even romance novels are produced mechanically with an almost predictable formula.
—Enter the Tolkien Hypothesis—
How do we explain this phenomenon? Are writers taking the “easy way out” and piggyback riding on successful, legendary writers? Is it true that authors are struggling more and more to produce original, creative content? Where do we draw the line between a story that is inspired and one that is copied? Whew! That’s a lot of questions to answer, so, let’s take it nice and easy….
Creativity and Springboards
Many aspiring writers, like yours truly, become fascinated with certain authors (ahem…Tolkien, Brandon Sanderson, et al.) In our excitement to share in the celebration of creativity, many authors based part or—god forbid—all their story on these authors.
The intention may not be to copy, but we enjoy using these successful stories as springboards for our imagination. Sometimes, we may jump a little too high and hit the ceiling, so to speak. I certainly did when I finished my alpha manuscript of Ethereal Seals book 1 (which is now called Blade of Dragons).
After reviewing my rough manuscript, I realized—much to my horror—that I had basically written a sloppy LOTR with Star Wars themes inserted haphazardly. I had committed a Tolkien Hypothesis crime! After several revisions and harsh critique from readers my manuscript is now on its own path. It still has similarities to LOTR and Star Wars in it, but Ethereal Seals has a unique feel, something that makes it stand out.
Does this mean I regret creating my alpha manuscript? Certainly not. I actually cherish my old writings, because they were the springboards that I needed to get my own creativity juices flowing.
Writer or Robot?
Some writers may intentionally copy story structures because they are employed by certain companies. There becomes a robotic need to churn out XYZ number of novels a year for a profit. In this sense, originality is purposely ignored for financial gain.
The other day, I was at the supermarket and I scanned a dozen romance novels on the self. They all had classy catchphrases like “The Italian Prince’s One-night Stand” or “The Duke’s Scandalous Heir”. It was almost as if I was looking at the same book reprinted with slightly different wording.
Even in the fantasy section, books with “Dragon-this” or “Dragon-that” seemed a little less than original. This is actually the reason why I changed my book title from Dragonsblade to Blade of Dragons. To me, it reads more original and still has a strong punch.
Anyway, I prefer to read books that have life in them—novels with heart and soul, not replicas retelling the same story with a few different plot devices. Not to say all mass market books at like that, but most that I’ve read are.
—The Road to Victory—
What is Success?
How do we, as writers, define success? An aspiring writer can finish a 2,000-word short story and consider it an achievement. Other authors don’t feel satisfied until they have an entire epic trilogy published—and then some. For me, success is subjective, and the milestones we set are our own. But it’s also important to pace ourselves and be patient with who and what we are.
The Whimsical Muse of Creativity
After years of pushing myself too hard, I’ve realized that my imagination is whimsical and volatile. Sometimes I enter a “writer’s zone” and can easily churn out a few thousand words within an hour or two; other times I struggle to get down a little as 300. It’s important, in my opinion, that we discover and nurture the personality of our inner muse. Once we do this, success is only a matter of time.
From my experience, originality doesn’t come from copying off successful writers; nor does it involve a phobia of inspiration. We, as original authors, must forge our own universes through the springboards we acquire from others, while keeping the Tolkien Hypothesis in mind.
Much of the world is only focused on profits or time-constraints and may have lost sight of the human imagination. This doesn’t mean we, as writers, cannot express our inner muse to society. The more fun you have with it, the better—and we set our own milestones and victories. We don’t have to buy into the mechanical urges of corporations, nor should we forgo imagination for worldly success and money.
Originality and creativity go hand-in-hand, and neither can be rushed, lest we fulfill the Tolkien Hypothesis. Writing is as much of a growing process for the story as it is for the writer :). And with that, I’ll leave you a quote…
Only in men’s imagination does every truth find an effective and undeniable existence. Imagination, not invention, is the supreme master of art as of life.
– Joseph Conrad
Thanks a bunch for reading! If you enjoy the content here please click that “follow” button below. I’m also interested in a final beta reader for my science fantasy manuscript—if you’re interested, contact me. Cheers. 😀
Hello, my readers. It’s been a busy month for me, and I just finished my long beta read for a fellow writer. Reading through the story got me thinking about fantasy tropes in general—especially since it’s #fantasymonth. In fantasy, you have everything from elves, dwarves, dragons, and halflings! In science fantasy, the scope expands even more to robots, cyborgs, aliens—the sky’s the limit.
Below, I’ll discuss some of my favorite ones, not in any specific order. I’ll focus strictly on the fantasy elements, but they can be applied to sci-fi too.
Who doesn’t like elves? An elf—by general definition—is beautiful, slender, graceful, and powerful. Elves have played a large role in fantasy since the Tolkien days—and continue to do so. Usually as a force for good, elves help maintain the order of the world they live in, often living in cities that are in harmony with nature.
Another favorite of mine, dragons are the epitome of power, feral beauty, and arcane mystery. While elves are almost always good, dragons have played a multitude of roles ranging from villains, to advisors, and even heroes. Dragons are a wild card in how they have been used throughout all fiction.
Magic is a whimsical topic—and a detailed analysis of such a trope is clearly beyond the scope of this humble article—that symbolizes the human imagination. Anything from fireballs, to teleportation, flight, or telepathy falls under the magical category. The price of using magic can be just as fascinating as what it produces. An author can conjure whatever he or she wishes via magic; that’s what makes it such an unpredictable and exciting trope.
But what is alchemy? It’s essentially the transmutation of an object into something else. Lead to gold is a classic example, but you can make other things like herbal elixirs too. In fantasy settings, authors often use alchemy as a profession to make a living, a means to heal others via healing salves, or—even better—a plot device that integrates with your magic system like in Mistborn. In other ways, alchemy can be a religion or way of life that shapes a character’s decisions.
I enjoy reading about the different types of civilizations in a fantasy story. An elven society may differ from one book to another, for example. How do the people function in said society? What roles does said society play in the plot? From culture, you can derive things like currency, prejudice, personal values, and even a magic system.
VI. Food & Consumables
I love food in general, especially cooking with it. It’s like a gift from the Divine—every meal is a blessing, every bite a prayer. Anyway, food heavily influences culture, reflecting how the world is assimilated by the protagonist and his/her society. Bonus points to the author that devises a completely unique fruit or herb with special nutritive properties.
VII. Magical Creatures & Beasts
Who says a writer should stop at elves and dragons? How about a mix of the two with its own racial name, abilities, and cultural values? This is another way creativity can work its magic and weave beautiful fiction. Magical beasts can be ally or foe for the protagonist—and such creatures help shape the conflict of the plot, giving depth to the reader’s immersion.
—On A Final Note—
A fictional world is only limited by the author’s imagination. Each new story is a dive into untold depths, whimsical and sylvan mystery. That’s one of the reasons I enjoy reading and writing fiction so much.
What are your preferred fantasy tropes? What are your thoughts on elves, dragons, and magic? I’d love to hear in the comments below. Thanks a bunch for reading and enjoy #fantasymonth! Cheers.
Hello, my readers! It’s February, and that means #fantasymonth! I’m excited to get involved in this blogging tag game. First, I’d like to thank Jenelle Schmidt for the idea, and A. M. Reynwood for tagging me.
Anyway, I’ll start with some questions on worldbuilding and gradually move to some zany ones. 😛
What aspect of worldbuilding do you enjoy?
Probably the spontaneous nature of it. It’s fun to give birth to entire worlds from nothing. The possibilities are endless—and you never know what the result could be! A novel that has a wild and whimsical world is my preference.
How do you worldbuild?
Usually by the seat of my pants. I’m not a great outliner and planner. I find the process to be tedious, and that it impedes the creative juices. The editing can come later—and I honestly don’t mind it.
What is your favorite fantasy novel in regards to worldbuilding?
Hmm…not an easy question. What first comes to mind—I enjoyed the worldbuilding in the Mistborn series by Brandon Sanderson. The use of alchemical reagents to fuel superpowers was fascinating. The world of Mistborn is also dark and mysterious, leaving the reader with a feeling of suspense.
What fantasy creature do you wish featured in more stories?
Instead of which fantasy creature, I’ll rather have a shift in the whole fantasy genre. Too often fantasy focuses on European mythology. There’s plenty of creatures and fantasy elements in East Asian mythology, for example. Speaking of which, I’ve had a lot of fun writing Tempest of the Dragon. The research I’ve done into Japanese mythology has been refreshing—and it has opened my eyes to how limited and dull European fantasies have become.
As you are reading this, a voice rings in your ear proclaiming:
A hero true, a leader strong,
A quest is where you do belong,
So arm thyself, and take your stand
With an item to your left your fate is at hand.
Besides the fact that this prophetic voice is clearly incapable of sticking to a meter, what ordinary item do you now find yourself armed with? (And, for bonus points, what helpful magical properties does it now possess that will help you on your quest?)
I would choose a set of prayer beads. The necklace would be blessed by a god and goddess, granting me wisdom in how to proceed in life. Through these divine words, I would walk forth, prepared to reforge creation and bring balance to humanity.
Congratulations! You are a fantasy hero/heroine about to start your adventure. You get to choose a small fantasy creature to accompany and assist you on your quest. Who/what do you choose?
I choose you, pikachu!
Seriously though, I would choose a magical familiar likened to a mouse, something small enough to fit in places I could not. It would be a sentient creatures capable of defending itself or me with magic.
Elves or dwarves?
How about both? I find each to be fascinating in their own way.
Do you prefer your dragons (we had to have at least one question devoted solely to dragons!) good or evil or a mix of both?
A good mix is always refreshing. As dragons are usually wise, they can be benevolent or manipulative, no? Some may even be feral and savage.
World building is a complicated undertaking full of many details. As a reader, what is a small detail you really appreciate seeing when it comes to diving into a new realm? What is something that helps you lose yourself in a fantasy world?
Immersive, descriptive scenery draws me in the most. This teleports me into the fantasy world—to touch, smell, and feel what the characters experience. Now, scenery need not be external like mountains, hills, or castles; it can also be internal to the protagonist. What are their fears? Their hopes? How does this reflect the world they live in? You can do so much with internal world building.
You have been transformed into your favorite fantasy creature. Problem is… you’re still in your own bedroom and your family is downstairs, completely unprepared for this shock. What creature are you, and how (if at all) do you break the news to your loved ones? (Or how do you get out of your room?)
Quite a predicament. My favorite fantasy creature would be a phoenix. As this creature, I would fly out of my room’s window (unfortunately melting the glass) and soar through the skies. Eventually, I would return home and nest in a secluded spot, watching over the property until the enchantment faded.
Well, that was an entertaining set of questions. I’ll admit, I had fun doing it. Fantasy Month is a time to celebrate, so I’m tagging you, my dear reader, to take up the challenge! If you own a website or blog, try answering the questions posted within this article. Or, you could make up your own set of questions related to worldbuilding. Be sure to thank Jenelle Schmidt and mention #fantasymonth within your post.
Music has a powerful influence on the human brain, particularly with creativity. The mileage varies from person to person, as some prefer silence—which is its own type of music. I’ve found that my creative process increases when I play certain tunes. In this post, I’ll share with you some of the genres and bands that I listen to.
—My Favorite Genres—
I listen to different types of music depending on my mood, activity, and environment. In this way, I view my playlists as a toolbox, allowing me to select particular tools to help me with an activity. That said, sometimes I deviate, but the list below gives a general idea of what I prefer and why.
1. Epic Music
Who doesn’t like epic or opera music? These tunes encourage excitement, creativity, and wonder in my brain. When I’m writing a jaw-dropping scene or a tense battle, this music is ideal. I like the bands: Two Steps from Hell, Audiomachine, and Ivan Torrent.
2. Chill Lounge
This is a slower, melodic music that allows me to space out and relax. When I’m talking with friends, co-writers, blogging, or writing a soothing scene, chill lounge is my first choice. Bands I like here are: Jjos, Alexander King, and Electro Pump.
3. Smooth Jazz
Smooth jazz speaks for itself. Like chill lounge, this genre helps me unwind, but without losing too much concentration in my writing. I view it as the middle way between epic and chill; it is also great for romance scenes between characters. I don’t have a particular band that I listen to with this genre—all smooth jazz is good!
A genre of music that I discovered recently, lofi has happy tunes with a steady beat. I find this music to be best for travel or adventure scenes without a lot of action. Some lofi is very beautiful and helps me when I’m in a creativity jam. I find myself listening to oriental lofi when I write Tempest of the Dragon for that East Asian feel. There’s also video game lofi that I enjoy. No particular bands here.
Classical is a nice way to unwind while, like smooth jazz, keeps a steady beat to maintain concentration during writing. Sometimes I alternate between smooth jazz and classical. I enjoy: Chopin, Mozart, Vivaldi, and many more.
This is cartoony, upbeat music that is perfect when writing comic scenes between characters or working on Tempest of the Dragon. Some of these tunes can also be similar to epic music. Favorites are: Kogarashi, Senso, Sakuzyo, and Konbanwa.
7. Progressive House
Progressive house is a melodic, curious genre (somewhat like trance in my opinion) that “raises my spirits to new heights” and gives me energy. I find this genre to be good when I need to brainstorm or work for very, very long periods of time. It’s basically audio coffee—if that makes sense. I like: Shingo Nakamura, Epicuros, and Gregory Esayan.
Remember that music you heard when playing Mega Man, Zelda, or Mario as a kid on your NES? That’s chiptune! This genre had been forgotten for years since its introduction in the 80s and 90s, but now it’s making a comeback. Chiptune has a comic flair like J-pop, but with a swift beat. It’s a good music for fast-moving, action or battle scenes. My favorites are: Tombofry, Rolemusic, and Sasakure.UK.
Psybient is an…acquired taste. It has a deep, alien feel that works for bizarre or mysterious scenes. The music may leave you wondering about yourself, your characters, and where they are all going. My top choices are: SiebZehn, E-Mantra, and Johnny Blue.
10. Dark/Deep Tribal
I listen to this genre if I need to write a shocking, or dark atmosphere to encourage visceral emotion in the reader. Most deep tribal also have a steady drum beat, likened to the heart, and are mysterious like psybient—or even pseudo-erotic for intense romance scenes. Some artists I’ve listened to are: DJ WOPE, Moshic, and Mundeep.
—Let’s Wrap Up, Shall We?—
Yes, I listen to a lot of music. Each genre holds a unique function to me, as I connect with the tunes on an intimate, and almost spiritual level. The music alone can transport me to another reality, engrossing my mind in its creative juices. I love music, as much as I enjoy writing.
What types of music do you listen to? I’d love to hear in the comments below. Thanks for reading!