Sunday, February 16, 2020

Where in Which World

The world of Amassia is based on what earth will be like in 250 million years.

Today, I want to look at the question of where we place our stories. From distant planets, real and imagined, to cities we've lived in, or at least know of. The where of a story-world helps tell the tale.


The idea of location was inspired by Helen Lowe's #YearOfWorldBuilding here on the Sup Blog, and Merrie Destefano's Tweet on the places her novels are set.

One thing is sure, LA, California is a popular place for us!


Rachel Marks'
Otherborn series.
In California alone, not only do we have Merrie's Fathom, Valiant and Lost Girls and Rachel Marks' Otherborn series.
Merrie Destefano's books on Amazon.

Then there's my Ava Sykes Novel, Blood and Water (In Vampires Gone Wild) and in part, all of the Quantum Enchantment and Quantum Encryption series. (Though plenty of that story takes place through the portal, in the land of Gaia.

And then, branching out, Amanda Arista has a new book set in Philadelphia, The Truth About Night, in the Merci Lanard Files

But this city of brotherly love is a little different. It has a magical underbelly, a place no one thinks could be responsible for the crime and drug problems... until Merci Lanard starts digging into her partner's death.

Set in the magical under-
belly of Philadelphia -
The Truth AboutNight
Amanda says, "Philly seemed like the perfect place to put it. I needed an old city, with deep history stretching back to the beginning of America. I needed a big city with a full infrastructure that people could get lost in. And I needed a place with enough crime that it would keep Merci busy her entire life. Just add werewolves!" Currently on Amazon

Helen Lowe's Thornspell is set in a magical kingdom 'not-too-far-away' from the Holy Roman
Thornspell set in the mid-Renaissance.
Empire of the mid-Renaissance era, ca. 1450 - 1520.

Helen says, "It's a setting that evolved to suit the original "creative flash", which envisaged the main character, Sigismund, in a small, European-style castle and evolved in step with the cultural, technological, and historical fabric of the kingdom. The Holy Roman Empire of the era was a diverse but loose confederation of states that stretched from Italy in the south to Denmark in the north, and from the Netherlands/France in the west to Lithuania/Poland in the east -- so offered considerable scope for a magical kingdom or two in the mix."

The Wall of Night Series set in the world of Haarth.
Her Wall of Night series is a different story.

"It is set within its own unique world of Haarth, within a universe that is not our own. Partly that is because "otherworld" settings are customary for epic fantasy, but also because it's just how I always envisaged the story, from its earliest beginnings that were very much influenced by the Norse 'twilight of the gods.'"

I agree with the 'otherworld' tradition of epic fantasy.

Writing as A. K. Wilder, The Bone Throwers series is set in the world of Amassia, a place where life has taken a slightly different evolutionary track. The planet is based on what earth will be like in 250 million years, a single continent surrounded by sea... in habitated by the Mar, the once upon a time human beings...

Book #1 of the Bone Throwers series set in the world of Amassia.
Where are your favorite stories placed? We'd love to hear about them in the comments.

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Kim Falconer's New YA Fantasy Series is out May 5, 2020 - The Crown of Bones. (Writing under A.K. Wilder)

Also, check her urban fantasy  - 
The Blood in the Beginning - and Ava Sykes Novel and the SFF Quantum Enchantment Series

You can find Kim on TwitterFacebook and Instagram. Or pop over and throw the bones on the AKWilder.com site.

Contact at kimfalconer.com

Saturday, February 1, 2020

Year of Worldbuilding in Fantasy #1: Surprised by Delight – "The Lion, The Witch & the Wardrobe" by CS Lewis

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#YoW Year of Worldbuilding
#WiF Worldbuilding in Fantasy

Last month, I heralded 2020 as the year I intended focusing on Worldbuilding in Fantasy fiction, emulating 1919 as the Year of Romance: #YoR; #RIFF

Worldbuilding lies at the heart of Fantasy fiction
Art (c)  PJ Fitzpatrick
I indicated, too, that I intended following last year's formula in terms of the focus being on some of my personal favorites over the years. I'll also strive to achieve some historical perspective by switching between older and newer works (as I did with romance.) If possible, I'll keep the range of fantasy encompassed broad, rather than just sticking to the one subgenre, such as paranormal urban or epic fantasy.
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Starting At My Beginning... 


Yes, I am starting with CS Lewis and The Lion, the Witch & the Wardrobe, in part because of the historical perspective, being first published in 1950.

In doing so, I acknowledge that there are even older contenders from children's literature, such as The Princess and the Goblin by George MacDonald (1872) or Five Children and It by E Nesbit (1902.) A focus on adult literature might also bring me to The Worm Ourubous by ER Eddison (1922) or The King of Elfland's Daughter by Lord Dunsany (1924).

All have their claims to fantasy and worldbuilding renown – but here's the thing: long before any of these titles crossed my ken, and certainly well before I discovered such worldbuilding heavyweights as JRR Tolkien's The Lord of the Rings (1954) or Frank Herbert's Dune (SF; 1965), my eight-year-old brother loaned his seven-year-old sister a library book with the brotherly advice to: "Don't mind the cover, I think you'll like the story."

I didn't like the cover, because the book was old and not at all colorful: it was gray, with a couple of kids, a lion, and two strange animals on the front, mostly detailed in black. It looked kind of dull, in fact, but eventually, still grudgingly I got myself past the cover and opened the book – and in very short order was surprised by delight.

And that dear Supernatural Undergrounders, is the main reason why The Lion, the Witch & the Wardrobe is my first contender for the Year of Worldbuilding. I still believe that its opening worldbuilding, which sets up both the book and the subsequent series in a few short scenes, is among the most masterly – and influential – in Fantasy literature.

It certainly drew me in, much as Lucy is drawn through the wardrobe and into Narnia. In my case, not just into the particular story, but to become an explorer of Fantasy (and other Speculative Fiction Fiction) worlds for life.

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Surprised By Delight

So what wrought that first delight? At the macro level I believe it's the sheer magic of Lucy first finding herself in the wardrobe, then the gradual sensory revelation that it's more than what it seems. As readers, we experience the wardrobe's darkness with Lucy, moving through the softness of fur coats with the expectation of touching timber.

 Instead, Lucy experiences a crunch underfoot, with the revelation of the unexpected, something "soft and powdery and extremely cold" set up through contrast with her expectation of the "hard smooth wood of the floor." Within a few moments, she finds herself among trees (again, more tactile contrast with the previous furs) with snow "falling on her":

"A moment later she found that she was standing in the middle of a wood at night-time with snow under her feet and snow flakes falling through the air."

Like Lucy, I-as-reader felt "a little frightened, but...very inquisitive and excited as well." After all this transition, so expertly managed through a grounding in changing physical sensation and reality, felt both very real and quite unexpected, not to mention mysterious. At the same time, Lucy also notices "...a light ahead of her." 

Consequently, "she began to walk forward, crunch-crunch over the snow and through the wood toward the...light."

At which point Lucy, and the reader, reach one of the most famous, atmospheric, and puzzling (it's the working-things-out, via Lucy, that really snares the reader's attention, I believe) worldbuilding scenes in Children's and Fantasy literature.

"In about ten minutes she reached it [the light] and found it was a lamp-post. As she stood looking at it, and wondering why there was a lamp-post in the middle of a wood and wondering what to do next, she hard a pitter-patter of feet coming towards her. And soon after that a very strange person stepped out from among the trees into the light of the lamp-post. ...[A description of the person follows, including that he was carrying an umbrella and parcels, concluding with:]... "...he was a Faun.* And when he saw Lucy he gave such a start of surprise that he dropped all his parcels.//"Goodness gracious me!" exclaimed the Faun."

*Given my age, I recall spending some time puzzling over "Faun" as opposed to "fawn." ;-)

The reasons this scene is so significant in worldbuilding terms (imho) is because of what it establishes in so short a time: just four to five pages from Lucy first entering the wardrobe to encountering Mr Tumnus, a citizen of that world. Those few pages establish the winter world of Narnia that is pivotal to the story told in The Lion, the Witch & the Wardrobe.

The lamppost and the meeting with Mr Tumnus also establish Narnia as a magical realm of mysterious artefacts and denizens, beginning with the Faun but including animals that talk. This early scene also establishes the pivotal role Lucy and other children will play in the Narnia.

Yet all of this is done with the minimum of props: just the building wonder of Lucy's transition through the wardrobe, the added curiosity of the lamppost shining in the middle of the forest, and finally the crowning arrival of the faun with his parcels, his woolly scarf and his umbrella. Altogether, it's a sequence of pages that surprises with delight, sets up the existence of magic and wonder, and establishes a world in which the reader, through Lucy, believes in all of it.

Lewis does not rest on his worldbuilding laurels, though. Within a few short pages of Lucy's return, but slightly longer in the timeframe of the story, her brother Edmund also ventures the wardrobe. In many ways his entry into Narnia mirrors Lucy's: the transition through the wardrobe, the discovery of the winter world – only in his case he does not meet the faun but a beautiful and rather terrifying Queen.

The duplication cements the basis of the world; the encounter with the Queen reveals the darker and more deadly aspect of the winter and the magic that holds Narnia in its grip. At the same time, it establishes the conflict that must be resolved in the story through the conflicting experiences of Lucy and Edmund.

This  conflict is then set in motion with the third transition through the wardrobe by all four children: Lucy, Edmund, and their elder siblings, Peter and Susan. As it should be – three times counting for all, after all, in the best fairytale tradition. :-)

And it is in this third transition that the children meet the first of Narnia's talking animals, Mr and Mrs Beaver, thereby confirming the final, but arguably the most important element of the Narnia world.

These elements – the wonder and delight of lampposts, magical creatures and talking beasts, and the darker and more terrible side of magic embodied in the witch-queen and the winter – are themes that will play out time and again. Not just in The Lion, the Witch & the Wardrobe (when the children must find the lion, Aslan, and defeat both witch and winter) but throughout the series of seven books.

For these reasons, I believe CS Lewis's worldbuilding in The Lion, the Witch & the Wardrobe is an outstanding example of the genre. It is also one (possibly of the few) that is well known beyond the fantasy genre.

Finding Narnia...
One example of its reach stems from a decade or so ago, when the Large Hadron Collider (LHC) was about to go live. At the time, there was considerable fear in some quarters that it might generate a black hole, thereby destroying the planet.  I remember hearing a radio interview at the time, when a LHC physicist indicated that there was far more chance of someone entering a wardrobe and finding Narnia, than there was of the LHC creating a black hole.

I recall laughing out loud, both at the humor, but also at the power of fantasy worldbuilding made manifest in our "real" and "everyday" world. I could say "muggle" world at this point, but won't, because that would be getting ahead of myself...

On that note: see you next month for my next instalment of the Year of Worldbuilding in Fantasy!

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Note: On February 16 Kim Falconer will be doing a post on Fantasy realms that appear on the real-world map – a nice segue on the worldbuilding theme, so check back in for that. :-)

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Helen Lowe is a teller of tales and purveyor of story, chiefly by way of novels and poetry. Her first novel, Thornspell (Knopf), was published to critical praise in 2008. The second,The Heir of Night (The Wall Of Night Series, Book One) won the Gemmell Morningstar Award 2012, and the sequel, The Gathering Of The Lost, was shortlisted for the Gemmell Legend Award in 2013. Daughter Of Blood (Book Three), was published in 2016 and Helen is currently completing the final novel in the series. She posts regularly on her “…on Anything, Really” blog, monthly on the Supernatural Underground, and is also on Twitter: @helenl0we.

Thursday, January 16, 2020

Visioning Equality in Fantasy Fiction

Blue Petals by Tim McBurnie
In the wake of the issues re the cancellation of the RWA Awards - this will get you up to speed - I wanted to talk about the challenges of writing diversity, equality, inclusion and realism in Fantasy Fiction. It can be a double-edged blade.

Celebrating Diversity in Anime - Yatta Tachi

If I write a world where real-life marginalized people are 'normal', is it showing readers a better possibility for the future or is it whitewashing issues that shouldn't be ignored? There are books and academic papers that explore this in-depth, but for now, I'll just share the approach I take in Crown of Bones.

Yuri & Victor
In my new series, The Bone Throwers (Book #1 Crown of Bones out March 17th!), society sees gender, race and LGBTQ diversity as normal. No big thing.

But issues of marginalization of another kind occur. The theme is not ignored or sugarcoated.

Just revisioned.

Divyatattva Art
For example, in the world of Amassia (think Earth so far in the future that all the continents have returned to a single landmass) there are essentially two kinds of people: savant, those who can raise a phantom, and non-savant, those who can not.

The savants of this story world are privileged, though they are meant to serve the masses with their gifts. And yes, it is the masses, the majority of people on Amassia, who are non-savant.

Alan Lee | Merlin & Arthur
The story follows a girl named Ash, a lowly scribe who is, indeed, non-savant. How she deals with her degraded life becomes a powerful thread in the plotline.

Work-in-Progress Witch's Shop by Aiseph
In this way, The Bone Throwers explores prejudice of a kind not seen in our 'real' world but remains a metaphor of our everyday lives.

This is one of Fantasy Fiction's most vital roles, investigating contemporary issues from a new or alternative perspective.

Thoughts?

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If you're getting excited, you can pre-order Crown of Bones, hardcover or eBook, from any outlet near you, including multiple language translations. Just google it!

Hope you enjoy!

* * *

Kim Falconer's New YA Fantasy Series is out March 17, 2020 - The Crown of Bones. (Writing under the pen name A.K. Wilder)

Also, check her urban fantasy  - 
The Blood in the Beginning - and Ava Sykes Novel and the SFF Quantum Enchantment Series

You can find Kim on TwitterFacebook and Instagram. Or pop over and throw the bones on the AKWilder.com site.

Contact at kimfalconer.com or akwilder.com

Tuesday, January 14, 2020

Year of Genesis: The Birth of a Paranormal


I published my first book in June of 2011, which means that I’ve been blogging on Supernatural Underground since July of 2011. That seems like FOREVER of sharing my content and my writing process and my thoughts with you all.

And now I am starting over. New Series. New characters. Same world. Three New books. Three old books. All 2020!

So this year, I thought I would focus on this new series creation. Not just as blatant promotion, but as a journey of how books get developed and made and editing and covered and everything. Where the characters come from, where the world comes from, all the stars that have to align to get a story out into the universe.

So we are going to call this the Year of Genesis: How a book comes into being.

So lets start with where the seed of THE TRUTH ABOUT NIGHT came from.

My first series, Diaries of an Urban Panther (which will be re-leased this year) was about a very shy women who became very powerful very quickly. By book three, Violet Jordan is the most kick-ass panther that Dallas has ever seen. There wasn’t a wanderer that I could throw at her to fight anymore.

Now, I love the Those Who Wander universe, and I knew I wanted to stay and play in that world. I knew there were more magical stories to tell.

And naturally as my stories do, a question formed. What if there was a Wanderer who only had one itty-bitty, tiny power in a world of monsters and panthers. I loved the notion of the one power. It was very reminiscent of Piers Anthony’s Xanth series where everyone is born with one power. Some big. Some small. But one each unique to each person.
 
I wanted to play with that notion. What if there was a girl who had some small little talent, and it wasn’t her magic that made her as powerful as Prima, it was her person. It wasn’t what she was, it was who she was.

And what if I pitted her against a demon, something that was as powerful as it was hungry. I knew I wanted to play with demons in this one. I wanted something big and dark and dangerous. I’d alluded to them in Diaries, but now I wanted to play with the nature of a demon.

Merci Lanard was born, fully formed and demanded a story of her own. Which I can proudly present to you on January 21!

If you have an topics that you can think of, please feel free to let me know! I will be back at my normal date next month!

Until next time, Happy 2020.

-Amanda

Wednesday, January 1, 2020

Happy New Year, Supernatural Undergrounders! Welcome to My Year of Wonderful Worldbuilding

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Happy New Year!
Happy New Year, dear Supernatural Undergrounders. In a world that often seems increasingly troubled and beset, I hope we can all find a path through 2020 that sustains our hope, our creativity, and our wellbeing.

When set against the larger backdrop of world, national, and even community affairs, posts on a blog with a focus on fiction that makes our hearts beat faster, and books that go bump in the night, seems like pretty small beer.

On the other hand, sometimes finding our path through the world is about focusing on what we can do and then doing it as well, and with as much generosity, kindness, and love, as we can.

So I am resolved, since posting on the Supernatural Underground on the first of every month is part of what I do, to write the very best posts I can. I hope they'll also be fun to read and maybe even brighten the occasional dull day.
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Put your feet up & read! ;-)

So Why Worldbuilding?

Last year, I decided to take a leaf from fellow Supernatural Underground (SU) author Amanda Arista's book and dedicate 2019 to a theme. Because the SU has its origins in paranormal urban fantasy, and paranormal urban romance in particular, dedicating the year to Romance in Fantasy Fiction seemed the natural and obvious choice.

Yet we've never been exclusively a romance or even paranormal urban community. We've had YA writers and historical fantasy, as well as epic (hand shoots up :-) ) and fairytale retellings.

The great thing about fantasy is that it's a broad and inclusive genre -- but one of the elements every part of the genre has in common is the vital importance of worldbuilding. This holds true regardless of whether we're building an alternate reality in this world, as many of our authors have done, e.g.
  • The Blood In The Beginning -- Kim Falconer
  • Diary Of An Urban Panther -- Amanda Arista
  • Lost Girls -- Merrie Destefano 
  • Fire and Bone -- Rachel A Marks
  • Where Oblivion Lives -- Teresa Frohock
  • Whistling Past The Graveyard -- Terri Garey
  • Of Blood and Honey -- Stina Leicht
Or alternatively, building a completely other world, as is the case with my The Wall Of Night series, Kim's Quantum Enchantment series (although that's also partially in this world), and Teresa's Miserere.

All of which makes shining the spotlight on wonderful worldbuilding in the Fantasy genre seem like the perfect and logical choice for 2020, and something we can all enjoy: me writing, you reading. :-) #AsItShouldBe
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2020: Let's explore worlds...
Our Year Of Wonderful Worldbuilding 

In terms of how it will work, I think I'll approach it pretty much as I did last year, with the focus being on my favorites, i.e. a few of the many worlds that have spun my wheels over the years, and inspired me to emulate the author's worldbuilding excellence.

Conversely, what it definitely won't be is an effort to exhaustively chart worldbuilding exemplars of the genre -- because although that might be Very Worthy, I feel it world also quash the fun quotient. Besides being impossible to encompass in ten to eleven posts. #Just Sayin'

I will try to achieve some historical perspective, though, by switching between older and newer works as I did with romance. I'll also try and keep the range of fantasy encompassed broad, rather than just sticking to the one subgenre, like paranormal urban or epic.

But that all lies in the realm of February 1 and the first #YearOfWorldbuilding post. For the moment we're still in January 1, with 2020 an uncharted landscape before us. Let's be careful what path we track through it.

Take care, dear Supernatural Undergrounders, throughout 2020: Be kind to yourselves and others.

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Helen Lowe is a teller of tales and purveyor of story, chiefly by way of novels and poetry. Her first novel, Thornspell (Knopf), was published to critical praise in 2008. The second,The Heir of Night (The Wall Of Night Series, Book One) won the Gemmell Morningstar Award 2012, and the sequel, The Gathering Of The Lost, was shortlisted for the Gemmell Legend Award in 2013. Daughter Of Blood (Book Three), was published in 2016 and Helen is currently completing the final novel in the series. She posts regularly on her “…on Anything, Really” blog, monthly on the Supernatural Underground, and is also on Twitter: @helenl0we.

Monday, December 16, 2019

Deadlines - Writing Under the Hammer

Hammer fall Art Print
Deadlines.

Every writers' bane, right?

Wrong.

Leonard Bernstein, director of the New York Philharmonic and one of the most talented and successful musicians in USA history, had a different take. He said:
To achieve great things, two things are needed; a plan, and not quite enough time.
Image from Who do Writer's Really Write for?
But still... deadlines. What a bitch... Especially during the 'holidays'. 

Love them or hate them, every published writer has to deal with the.

At least they are well named.

The History of Deadlines


Originally, a deadline was literal, an actual line drawn around a prison. If prisoners crossed it, the guards could shoot to kill.

Nowadays, it can feel as dire. Miss a publisher's deadline and the writer's entire career can derail, especially in commercial fiction.

Hard and Soft Deadlines


Yet, not all deadlines are equal. In the industry, they call them soft or hard. The soft deadlines are malleable. It's expected to edit and revise beyond them. The hard deadlines? That's the shoot to kill order, only it's the career that dies, not the author. (Some writers feel it's one and the same...)

Ancient Magic Script - Etsy
Those soft deadlines are important. For example, I set myself writing goals for new work - a scene a day, or 2k words a day, depending on the stage of the story. I stick to them, 95% of the time, but I don't burst into flames if one day is missed.

With hard deadlines, the only sane thing to do is meet them. Without complaint. There are too many publishable authors ready to take your place if you prove too 'difficult' to work with.

Remember, shoot to kill.

Support for Meeting Deadlines


There are a few things you can do meet every deadline every thrown at you. One is to make sure your agent has negotiated reasonable expectation for turnaround times with your editor BEFORE you sign the contract.

Another is all about the planning. I map out the editorial schedule and make sure I clear the decks for each phase of the process.

Sock up on essentials! 
I stock up on necessities (coffee, cat food, quick but healthy foodstuffs) before the edits come back to me. I also write blog posts, columns, reports and newsletters well in advance so there is nothing else on my plate when the time comes to write.

What About Procrastination?


If there is a tendency to procrastinate, explore possible reasons - fear of failure, fear of success, Mars in Taurus, Cancer or Pisces, not loving the project -  and find solutions, again, BEFORE the deadline looms.

Best Tip Ever


Set an intention ahead of time to meet the deadline efficiently and with massive amounts of creative savvy and ease. 

How to do that?

Go here for details but this, from my friend Jeannette Maw, will put you in the sweet spot.

On-the-Fly Intention Setting
(for when you don’t have a lot of advance prep time)
  1. Focus your thoughts on the result or experience you want (deadline met, in our case)
  2. Let it go

Could it get any easier? The only thing better than how simple it is, is how effective you’ll find it!

Have a deadline story to tell? I'd love to hear it in the comments!

Now, back to work!

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Kim Falconer's New YA Fantasy Series is out March 2020 - The Crown of Bones. (Writing under the pen name A.K. Wilder)

Also, check her urban fantasy  - 
The Blood in the Beginning - and Ava Sykes Novel and the SFF Quantum Enchantment Series

You can find Kim on TwitterFacebook and Instagram. Or pop over and throw the bones on the AKWilder.com site.

Contact at kimfalconer.com or akwilder.com