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Posts Tagged ‘world building’

Where do story ideas come from? Many of the seeds of my stories go so far back that I can’t put a finger on just how they started. THE BARD’S GIFT is not one of those stories. I can trace its development very clearly. Here’s how it happened.

TheBardsGiftCoverSmall

Back in February of 2010, a writing challenge was issued on one of the writers’ forums to which I belong (Hatrack River). This isn’t uncommon. We have several challenges a year. I’ve only entered a few because they’re all for short fiction–often very short–and, well, I don’t write short well. The last thing I started that was intended to be a short story or maybe a novella is now almost 90,000 words long. However, if an idea comes to me, I will give one of these challenges a try, mostly just to stretch myself.

Some of these challenges have a trigger or writing prompt. The trigger for this one was “Slave to the flame” and I came up with a story about the first dragon to learn to breathe fire, initially titled “First Flame.” It was written as a fable.

My story didn’t do very well in the challenge, partly because I killed off the main character (a dragon). There was nothing else I could do in the word-count allowed for the challenge (3,000 words). The voters also didn’t think he was really a slave to the flame.

Freed from the constraints of the challenge, I added some more to the ending which allowed the main character to survive, although badly wounded. But, it was still a fable. So, I created a framing story, about a girl with the gift of telling the exactly right story at the exactly right time. I put her in a desperate situation and let her tell the fable. This version was 5,000 words long, 4,600 of which was the fable.

But, it left me with a lot of questions. How had the girl come by this ability? How had they gotten into this desperate situation? And, of course, what would happen next?

Some of the things in that framing story made me think it was meant to be in a Norse setting, but not in the Norse homeland. So, I did some research and eventually, in 2012, I wrote it as a young adult novel. That original story is still there. It makes up Chapter 36. Here’s a taste:

 Astrid drew a deep breath. “Some dragons can breathe fire. Did you know that? They couldn’t always breathe fire, though. And while some dragons, like Fafnir, are known to be smart, they weren’t at one time.

“It all goes back to the time of Wyreth the Wise. Now Wyreth was small for a dragon. He could do well enough on his own, but he only survived the dragons’ mating season because he was quick and because he was smarter than the other dragons. And maybe because he was stubborn, too.

“When there were many dragons together he was always last for everything. Dragon society is built entirely on who can bully everybody else. If you’re bigger or stronger than the others, you eat first, you get the best and sunniest sleeping spots, and, if you’re a male, you get most of the females come mating season.” She stole a quick look at Torolf under her lashes, here. “Wyreth was the smallest dragon. So he always ate last, had the worst and coldest sleeping spot, and none of the females even looked at him.”

“Whenever Wyreth killed a deer or a pig–cattle were entirely too big for him–one of the other dragons swooped in and stole it from him. The worst offender was Zilthss, Wyreth’s egg brother and the bane of his existence. Zilthss was big and strong, more than strong enough to kill his own prey, but he preferred stealing Wyreth’s whenever he could.

Because he was big and well-fed, Zilthss slept in one of the best spots and his scales were a beautiful burnished copper. All the females turned their heads when Zilthss flew by, even out of mating season. Wyreth’s scales were an unremarkable dull metallic red.”

Several of the children stole a glance at the shiny red scales behind Astrid.

“Because he was quick and smart, Wyreth usually dragged his kill into the dense brush, where the other dragons wouldn’t easily fit and gulped down as much as he could before they powered their way through to steal his meat. Bolting his food like that gave Wyreth indigestion, but it was better than starving.

“Now, at the time of this story, Wyreth had had a particularly bad week. Mating season was about to begin and the male dragons were more than usually belligerent. Zilthss had trailed Wyreth around like a hound on a scent and stolen everything he killed–even the pitiful little rabbit–before Wyreth could get so much as a bite.

“After losing the rabbit, Wyreth flapped off feeling sorry for himself. He had learned long ago that if he flew up the steep slopes of the cone-shaped mountain, the others wouldn’t follow him. There was nothing of interest there, certainly no game to hunt.

These dragons were creatures of mountain forests and no trees grew on the glassy slopes of that mountain, but at the top there was a round, rocky valley where the stones themselves were warm, even at night. Since Wyreth couldn’t get any of the warm, sunny sleeping spots in the rookery, he’d taken to coming up here. The sun was strong, but the heat from the ground was stronger still and comforting.

“That is, it was usually comforting, but not today, because Wyreth’s stomach was so empty. Even the warm rocks and the sun on his spread-out wings couldn’t ease Wyreth to sleep when his stomach growled so loudly. In desperation, Wyreth chewed on the yellow rocks. The yellow ones were much softer than the shiny black ones; a dragon could break his teeth on those. Some pieces of the yellow rock were small enough to swallow. Not exactly nourishing, but at least it filled up that hollow feeling inside for a while, though Wyreth suspected that they would be the very devil to pass. Well, that was tomorrow’s problem. Wyreth stretched himself out on the heated rocks and slept.

“He woke with a mighty belch. That wasn’t unusual for Wyreth. What was unusual was the gout of blue flame that leapt from his mouth along with the burp. Wyreth back-winged in surprise.”

Several of the older boys laughed at this. The younger ones giggled uncertainly. The oldest boy essayed a burp of his own and that sent the little ones into gales of laughter. Astrid glanced up from the children. Several of the men had looked over at the sound of laughter. Torolf was watching her. Astrid smiled and went on with her story.

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In researching the Greenlanders for THE BARD’S GIFT,

TheBardsGiftCoverSmallof course I ran across their legends about sea monsters. One of those monsters was hafgufa.

Translated as “sea mist” or “sea reek”, hafgufa was a sea monster of the Greenland Sea between Greenland and Iceland. Hafgufa was supposed to lie on the surface to feed. The stench of its belch drew in fish, which the hafgufa would then consume, along with anything else in the vicinity, including ships. Only Orvar-Odd had ever escaped, because he knew the beast rose and submerged with the turn of the tides and was able to get his ship out of range just in time.

Hafgufa was usually seen as only a pair of rocks said to be the beast’s nose. Sometimes hafgufa was equated with the kraken. Others attribute the stories of hafgufa to underwater volcanic activity and the release of methane gas.

Here’s an excerpt from Chapter 20 of THE BARD’S GIFT. To set the scene: it’s foggy and Torolf is alone in a small boat (a faering, 0r small fishing boat). A few strange phenomena (attributable entirely to deep ocean volcanism, not sea monsters) start his imagination running wild.

Torolf paused, lifting the oars out of the water. He was closely tuned, now, to the background noises of the sea around him. He’d swear he’d heard a sound that didn’t fit. There it was again. A sort of gurgling noise that wasn’t like anything he’d heard at sea before. A whale diving? No, he’d heard that before and it didn’t sound like this. In fact, more than anything else in his experience, this sound reminded him of a kettle on the boil–which made no sense at all.

The skiff rocked as a wave struck its side. That was wrong, too. The waves should be following from behind the skiff. It wasn’t a storm wave; there was still no wind to speak of. The wave came from the same direction as the strange sound.

The air moved slowly in this fog, slower than sound, so the stench reminiscent of rotten eggs reached Torolf last. Magni’s wild stories about hafgufa came back to him at the same instant. They didn’t seem so wild right now.

Sweat ran down his face despite the clammy fog and his pulse raced. What now? The only thing he could think of was that the monster only surfaced at the turn of the tide and stayed on the surface until it turned again. Orvar-Odd had sailed through safely because hafgufa had just surfaced and he had time to get out before it submerged again, sucking everything in the vicinity down with it. It wasn’t so easy to determine the turn of the tide out here in the open ocean. When had it turned?

He clutched the oars hard. Did it matter? He could hope at least that the splash he’d heard was the creature surfacing. Well, obviously. Otherwise, he’d already have been sucked down with the monster. So, his only hope was to get as far away as he could before hafgufa submerged.

Torolf drove the oars into the water so hard he almost lost control of them. He drew a deep breath and set up a steadier rhythm as fast as he thought he could maintain.

After what felt like hours, but was probably little more than one hour, he had to stop to rest a little and eat something, especially to drink water. He flinched at every sound or slightest movement. The fog seemed a little thinner and he thought he felt a breath of air. He hoped that wasn’t only wishful thinking. Being able to raise the sail was his only hope of making real distance. The faering could almost fly over the water with enough wind to fill its sails.

Another gurgle sounded off to his left and Torolf grabbed up the oars again, pulling for all he was worth. He rowed until he thought his heart would burst. When he couldn’t row another stroke, he shipped the oars and sagged against the gunwale, breathing heavily. His throat felt like he’d tried to swallow sand and his shoulders burned. He fumbled for one of his precious water skins and drank deeply.

He wasn’t far enough. Not nearly far enough. He was sure of that, but he couldn’t row anymore. Not to save his own life. A breeze ruffled his hair and cooled his sweaty face. Torolf looked up. The fog had lifted and he’d been too intent on rowing to even notice. The breeze ruffled his hair again. He lifted the little pendant that had been his mother’s, halfway between a cross and a Thor’s hammer, to his lips. It wasn’t a strong wind, but it was enough to put up the sail. He could rest for a while and still keep moving.

Torolf raised the sail, forcing his aching arms to the task. Then he collapsed in the bottom of the boat, too tired to move another muscle.

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Writing THE BARD’S GIFT

TheBardsGiftCoverSmallwas a different experience for me. I write fantasy. Usually, I just get to make things up (as long as it makes sense, anyway). That’s why they call it world building. But THE BARD’S GIFT is historical fantasy, so I couldn’t just make up anything I wanted. I had to do research to find out what kind of houses my characters would live in and what kind of clothes they’d wear and a bunch of other things.  Sometimes, interesting things turned up in this research. Some made it into the story, some didn’t.

Now, since my Norse characters go to set up a new colony in North America (in what the Greenlanders would have called Markland, around the Saint Lawrence River) I also included some things specific to North America–especially the thunderbird.

Many North American Indian tribes had stories about Thunderbird. For some, it was a singular, somewhat irascible, creature and a sometimes guardian. In the Pacific Northwest, there were said to be many thunderbirds, who could remove their feathers like a cloak and tilt their beaks up like a mask and so take human form. Those things made it into the story.

What didn’t get in was the real-life (prehistoric) birds that might have been inspiration for the Thunderbird. These teratorns, something like a cross between a condor and an eagle, actually once flew over the skies of North (and South) America.

Merriam’s Teratorn is well known from the Rancho La Brea Tar Pits. It would have weighed about 30 pounds and had a wingspan of about 10 to 11 feet. That’s a big bird.

But it’s nothing compared with it’s cousin Aiolornis Incredibilis, which weighed in at 50 pounds and had a wingspan of 16 to 18 feet. Yikes! How’d you like to see one of these fly overhead?

And both of these birds would have been in the skies when people first arrived in the New World.

The biggest of all is only known from South America. Argentavis Magnificens was the largest known flight-capable bird (though it probably soared much more than it flew). It had a 25-foot wingspan and would have weighed about 170 pounds! One of its flight feathers would have been 59 inches long (that’s almost six feet!).  (Sorry, five feet, not six. I shouldn’t try to do arithmetic in my head before breakfast.) Now that’s a Thunderbird.

I’m not making this up. Just take a look at the first chart on this site.

More fun and interesting things to come as we lead up to the launch of THE BARD’S GIFT on January 30th.

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I’ve had the opportunity to have a couple of people who are very good at seeing the big picture take a look at the beginning of my Weird Oz Story. With their help, I’m beginning to get a clearer picture of what went wrong and how to fix it.

This story started when I’d read one too many novels in a row that featured a supposed female protagonist who sat around and waited for some guy to show them what to do. If you haven’t noticed already, that’s a really, really big pet peeve of mine. So, I thought of dropping a new “Dorothy” into a much more dangerous Oz–basically, the Jurassic Park version of Oz.

But it’s not working. I knew that, though I was too close to it to really figure out why. Now I’m starting to get feedback that helps me to understand why.

  1. In the interests of having my “Dorothy” make her own choices, even in a strange and unfamiliar world, I set her down alone. That won’t work. L. Frank Baum introduced Dorothy’s first companion, the Scarecrow, in Chapter 3. My character needs someone to talk to, someone to help her recognize the “she’s not in Kansas anymore” sooner. But not somebody to take over and tell her what to do. Most of all, another character who can provide some additional conflict. I’m working on an appropriate character for this–something or someone a bit ADHD who will be as much a hindrance as a help–more conflict. 
scanned from 1900 Wizard of Oz book

scanned from 1900 Wizard of Oz book (Photo credit: Wikipedia)

  1. The first few chapters were a bit too frenetic. The whole novel can’t be just bouncing from one threat to the next. There has to be time to lay plans, reconnoiter, and take deliberate action. There have to be try/fail cycles in which “Dorothy” fails before she finds her way out. I have to throw enough at her to make it clear she’s in trouble, but I also need to pace it better.
  2. Writing it in first-person is turning out to be somewhat problematic for two reasons. The longer it takes to convince “Dorothy” that this really is Oz, the longer I’m actually shutting the reader out of the truth, too. Because the reader has to experience everything through “Dorothy” in first person, even while “Dorothy” is in denial. Also, I haven’t really hit on a likeable voice for “Dorothy”, probably partly because of her denial. I haven’t made a decision on this yet. There may be a way I can fix “Dorothy’s” voice. On the other hand, third person frees me to let the reader in on things Dorothy hasn’t figured out yet and, if I want, even to jump to another character for a chapter. That might be the deciding factor.

At any rate, I’m getting closer to getting back to this story.

 

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A week or so ago, I blogged about having found a couple of new critique partners. Well, I’m still slogging–somewhat painfully–through one of the critiques. Why? Well, there are a couple of reasons.

For one thing, whenever there are several comments on every page, at some point it all just becomes white noise. Some of those comments are valuable, but it takes a lot of work ot separate the diamonds from the dross.

I’m reminded of Orson Scott Card’s “wise reader” questions–So what? (“That was boring.”), Say what? (“I didn’t understand that.”) And Huh?! (“I don’t believe that.”) Those are the most important questions a reader/critiquer can answer. Of course, it’s always really nice to know when something works well, too.

Too many of those comments I’m skipping over are of the form “I think this would sound better . . .” which is basically an attempt to rewrite my prose. That’s a no, no. In fact, in at least one writers’ group to which I belong, Hatrack River Writers Workshop, it’s specifically forbidden.

Point out writerly tics, certainly. Typos and repetition of words that cause a kind of echo are fair game, too. But, well, there’s a line that can be crossed.

On a completely different subject, I found an ebook of all fourteen of L. Frank Baum’s Oz stories cheap on Amazon. If that doesn’t help jog my inspiration for that story, I don’t know what will.

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Sometimes I feel like I have a split personality. I’m working on so many different things at the same time (well, not at the some minute, but you know what I mean). And that doesn’t even count, you know, my ordinary life.

Querying MAGE STORM, trying to promote both FIRE AND EARTH and BLOOD IS THICKER, getting feedback on DESERT ROSE (MAGIC AND POWER), and trying to write the first draft of my Weird Oz Story (no title, yet).

I wonder if that’s why I’m having a hard time getting started on Weird Oz. I’m only on Chapter 3. (Here’s a teaser, Chapter 3 is titled “Pixie Spiders”.)

Could be that, or it could be that this is a bit of a departure for me. It’s the first novel I’m attempteing in first-person point of view. I’ve written a couple of shorter pieces (“Heart of Oak” and “Becoming Lioness”) in first person, but never a novel. It’s also a very different story to what I’ve been writing recently.

Maybe it’s because I haven’t completely built this world in my own mind yet. I’m a discovery writer (somewhat modified), so I’m generally okay with that. I can fix anything in revision (except the empty page I’m staring at right now). And sometimes the only way the ideas will start to come is when I start to write.

It’s also occurred to me that this may turn out to be a middle grade story instead of young adult, as I’ve currently envisioned. Well, I can fix that, too. But only if I get the story down first.

Well, once I get it well and truly started, hopefully it will start flowing better. Forward, ho!

In other news: Check out Clean Romance Reviews on Tuesday, September 10th for my first ever author interview. I’ll try to post a direct link on Wednesday. She did a very nice review of FIRE AND EARTH.Fire And Earth Cover (Provisional)

Also, a new chapter of BLOOD IS THICKER is up on wattpad. Or, you could just buy the book.

Blood Is Thicker Cover

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Well, I’ve started a little of my weird Oz story, but it’s not really flowing yet. So, I jumped in the way-back machine (fifty totally meaningless points if you get that reference) and pulled up my first novel (not counting the thing I did in college, of course). It’s THE SHAMAN’S CURSE.

Now, I’ve taken a couple of whacks at rewriting this before. I pulled out part of the story arc and wrote it as a middle grade novel I called MAGIC’S FOOL. I liked that pretty well, but I was persuaded that the age of the protagonist (thirteen in that version) would be a problem. I’m no longer sure that’s true, though. I’ve read other recently-published books that start with thirteen-year-old protagonists.

I tried again with a young adult version which started with the protagonist at fifteen, just like the original. I never got very far with that one.

Then I just got tired of trying to shoehorn the story (which I still love) into either of those categories. I like the original plot line better. Not that it can’t benefit from a few revisions and some tightening. Still, overall it’s the writing in that first version that’s the problem, not the plot.

So, that’s what I’m doing right now. I’m trying a rewrite of THE SHAMAN’S CURSE. It’s an interesting experience for a discovery writer to have essentially a 100,000-word outline to work from.

Reminder: You can read the first four chapters of BLOOD IS THICKER free on wattpad. I really have to get down to some serious planning for the launch. I might have to slip the release date back a little if I don’t make some definite plans by the end of this month. I can do that at this point, but it’ll get harder later.

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Well, we’re about half-way through the year and I guess it’s time to look ahead to my plans for the rest of the year.

I’ve got a number of revisions under way.

  1. MAGIC AND POWER: I’ve just started the second draft. It’ll take at least one or two more drafts and some beta readers before I decide what I’ll ultimately do with it. It’ll need a new title, at the least. This is the story that grew from a planned novelette into 75,000 words.
  2. BLOOD IS THICKER: This is the sequel to BLOOD WILL TELL. I’ve just completed a revision on this. I’m finally happy with the story. (Did I mention lately that sequels are hard?) It needs at least one more pass. I plan to start serializing it on wattpad as soon as BLOOD WILL TELL is complete there. (Next Sunday, in fact.) And I need to start planning a launch for this for sometime this fall. Note: This time I do actually intend to plan about three months ahead. Guess I’d better get started.
  3. MAGE STORM: I’m just beginning to get feedback from my beta readers on the newly revised version. I’m excited about this one. It’s my middle grade fantasy and I want it to be ready to pitch at WriteOnCon in August. That means I need to rework the query and synopsis, too.

Hopefully about the time I finish these revisions, I’ll be ready to start writing my “weird Oz” story. I’m getting excited about that one, too. It’s likely to be the first novel-length work I’ll attempt in first person. At a minimum, that’ll be an interesting adventure.

Meanwhile, at least until MAGE STORM is ready, I’ll continue querying THE BARD’S GIFT.

Eh, when I put it all down like that, it’s no wonder the house is a mess.

The next-to-last chapter of BLOOD WILL TELL is up now on wattpad. Final chapter to come on Wednesday.

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 This is the last in my series of blog posts about the problems with series. Don’t get me wrong. I love a good series–up to a point. But some series just keep going on . . . and on . . . and on. And at some point, they go on too long. This post is about endurance–the reader’s–and knowing when to stop.

I’m quite sure that the endurance level varies widely by reader. My own experience suggests that mine is somewhere between five and nine books in a series, depending on several factors. After that, I just don’t really care enough about the characters or the story to continue. This probably helps to explain my strong preference for either series that are already complete–and I can tell how many books are involved–or for series in which each book represents its own story, allowing me to stop at any point that I get tired of it.

HARRY POTTER certainly held my interest for all seven books. Though, even then, I confess that I enjoyed the earlier ones more, I think. WHEEL OF TIME lost me somewhere around book nine. It is certainly possible for a series that doesn’t give any intermediate resolutions to go on far too long for me. I can only think of one “series” where I read more than nine books–and that one was more a collection of series within the same world but with different collections of characters and problems. Even then, I reached a point where the stories just couldn’t hold my interest anymore.

I understand the temptation. You’ve spent hours, days, maybe months, building up this world. More, readers seem to like it. Why wouldn’t you want to keep writing stories about it? But, I think wisdom is to be found in knowing when to say enough and go build some other world.

 The final chapter of FIRE AND EARTH (actually the epilogue) is now up on wattpad, along with a new chapter of BLOOD WILL TELL.

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Did you ever notice that the middle book (or movie) in a series is usually the least exciting? It just feels like there’s something missing. I have a theory about that.

This applies to all lengths of series in which there’s some overall conflict tying the whole series together, but, for the sake of brevity, let’s use the trilogy.

In the first book, we, as readers, meet the characters for the first time. We “see” the setting for the first time. Hopefully (so that we’ll want to continue the series) we fall in love. If it’s a fantasy, we also learn about the magic system, about any strange and wonderful creatures that inhabit this world. It’s all new and sparkling and full of wonder.

In the third book, we have the big bang, the ultimate confrontation between the hero and the villain. The villain gets his come-uppance. The hero emerges victorious. We get the resolution, the satisfaction, of finding out how the story ends.

The poor middle book doesn’t have either one of these. Hopefully, it’s at least a decent story in its own right, but not always. I’ve read series in which the middle book doesn’t even come out to a story, in the sense of having a smaller problem recognized in the beginning and resolved at the end. It’s just a bridge between the first and third books. I have to really love the characters to want to come back for more in those cases.

This is something I’m really struggling with right now with BLOOD IS THICKER, which is the middle book of my CHIMERIA trilogy. The three books are each meant to stand alone, but they also build on each other and there is something of an overarching problem. BLOOD IS THICKER suffers from middle-book syndrome. And I’m not quite sure how to fix it. Yet.

Now, I want to mention one series that spectacularly beat the middle-book blues–J. K. Rowling’s HARRY POTTER series. And I think I know why. She parcels out that sense of wonder all through the books, especially the early ones. In SORCERER’S STONE we learn about the wizarding world, Diagon Alley, Hogwarts, Quidditch, baby dragons, unicorns, and centaurs. But in CHAMBER OF SECRETS we get the flying car, the whomping willow, giant spiders, a “talking” diary, a phoenix, and the basilisk. In PRISONER OF AZKABAN we get dementors, hippogriffs, werewolves, time-turners, the Marauders’ Map, and the patronus charm. Do I even have to go into GOBLET OF FIRE?

Now, if I could just figure out how to apply that to BLOOD IS THICKER. I think I have a better chance with the sequels to MAGE STORM.

Also, new chapters of FIRE AND EARTH and BLOOD WILL TELL are available on wattpad.

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