Seers in Storytelling

Seers, psychics, oracles, mediums, prophets, diviners, astrologers, tarot readers, or even those with a smoking hot intuition, can play a powerful roles in speculative fiction. Our genre is rich with it, and has been for thousands of years.

From Homer's Pythia, priestess of Apollo, to Tolkien's Galadriel and her mirror, the Oracle in the Matrix to Whedon's River Tam in Firefly, the seer can move the story forward in tantalising ways. But writing a prognostic character has it's problems. All that foresight may just as easily ruin a plot as empower it.

If your protagonist can see into the future, the surprise is gone. 

The easy way to remedy this is to place limits, making the seer unreliable. They might be a novice, out of control, or their skill could require a ritual, tools or equipment they don't always have time for. Like the Greek sphinx, they might speak in riddles so ambiguous that no one can understand, save in hindsight

With the Oracle of Delphi, often the  urge to avoid the fate was exactly what fulfilled it. When King Laius and Queen Epicaste of Thebes had a baby boy, they asked Pythia his future. When the Priestess replied that the boy, Oedipus, would  kill his father and marry his mother, they abandoned the baby, but we know how that went...

In LOTR, Galadriel's mirror shows past, present and future events, from near or far, but is never clear on which is which. Both Sam and Frodo are invited to look, Sam seeing the destruction of the Shire and Frodo nearly touching the water with the ring (which would reveal his whereabouts to Sauron). In these cases, interpretation of what is foretold is critical to what comes next. Sam choses to stay with Frodo, even though he longs to rush back to the Shire. Frodo, on the brink of losing heart, soldiers on. Regardless of 'fate,' they make a choice, one of the key ingredients to plot propulsion.

From the Matrix, the Oracle's ability to "predict" the future is based on recognising choices before they are made. Yet telling Neo he is NOT the one is precisely what makes him begin to believe he is. In this way, the writers have created a character who can see the future but in doing so, creates a third choice that changes everything. 

In Cassandra Clare's City of Bones, if the tarot reader was on the ball, Clary's mother wouldn't have been kidnapped and the Mortal Cup never lost. Story over in chapter one. But instead, we get glimpses, hints and more mystery. Dorthea's seeing ability moves the story forward , without giving away the plot.

In Helen Lowe's The Wall of Night Series, the Derai prophecy says "If Night falls, all fall", which instead of foreshadowing future events, becomes a rally cry, or goad, to both sides, those who want Night to fall and those who don't. It's also a touchstone for Malian and Tarathan who have seer qualities of there own.

In the Quantum Enchantment and Quantum Encryption series, Jarrod's ability to extrapolate a likely outcome is based on infinite possibilities calculated outside of matter, and Kreshkali's understanding of astrology and synchronicity all play a part. But, like the Oracle of Delphi, Derai, and the Matrix, all seers perhaps, it is the free will of the characters that tips the scale. And we need it that way.

Otherwise, what would have us on the edge of the seat, wondering what will happen next? 

We'd love to hear about your favourite prophesies and diviners in books, film and TV. Drop a comment, and we'll see you there.

xxKim

Kim Falconer's latest release is out now - The Blood in the Beginning - and Ava Sykes Novel.

Learn more about Kim on Facebook and chat with her on Twitter. Check out her pen name, @a.k.wilder on Instagram, or visitAKWilder on FB and website.

Kim also runs GoodVibeAstrology.com where she teaches the law of attraction and astrology. 

Kim posts here at the Supernatural Underground on the 16th of every month, hosts Save the Day Writer's Community on FB and posts a daily astrology weather report on Facebook. 

Writing Fiction vs Fact

La-memoria-de-los-peces by Chelin Sanjuan

Fiction and non-fiction, fantasy and reality, they have a lot more in common than we think. On the surface, they seem like polar opposites. One is real, the other not, right? But given a large enough perspective, both are simply stories that we tell, and those stories have a way of swapping places over time.

For example, we've all heard this one: the world is flat - fact or fiction? The answer depends on 'when' and 'where' you ask it.  In the 6th century BC, Samos, the world is spherical, thanks to Pythagoras. Middle ages Europe, flat or round, it's a toss up. 16th century China, definitely flat. Stories change. What's real changes,and sometimes imagining something new can open doors to its existence.

We see this all the time when science fiction that becomes 'science fact'. Here are a few examples:

Edward Bellamy’s 1888 novel Looking Backward introduced the notion of 'debit cards' in a financial era that had no models for this kind of exchange.

Ray Bradbury's 1953 classic Fahrenheit 451 describes the earbud headphone perfectly, when that technology that didn't appear until 2000+.

Hugo Gernsback’s ancient serial Ralph 124c 41+ publised in 1911 included the 'telphot', basically SCYPE, or video conferencing.

Jules Verne, who wrote in the 1800s gave us everything from submarines to lunar landings.  The Earth To The Moon predicted Apollo 11's lunar landing in 1969 - from the launch from Florida to the amount of force that needed escape Earth’s atmosphere.

And Philip K. Dick's 1956 Minority Report portrayed multiple 'fictional' technologies that have since become reality, including facial recognition software, personalized advertising and gesture-based user interfaces long before touchscreens and motion-sensing inputs became common.

The Spell of Rosette, a story about DNA,
strange attractions and other forms of magic.

One of my favorite recent 'stories' from neuroscience is that meditation alters gene expression. It means that our thoughts (mantras) have a direct effect on our DNA, changing our physical make up. Of course, Vedic masters have been telling this story for thousands of years, but now researchers in brain science are saying it's 'real'.

The notion of altering gene expression with our thoughts is the bedrock of my Quantum Enchantment Series, a science fantasy whose hero is a quantum computer who thinks himself up a Tulpa body and gets out of Dodge before they pull his plug. I wrote that before the recent breakthrough . . .

Do you have a favorite 'fiction' you would love to see come true? A story that seemed outlandish at the time but is commonplace now? We'd love to hear about it.



Kim Falconer is a Supernatural Underground author writing paranormal romance, urban fantasy, YA and epic science fantasy novels.

You can find out more about Kim at kimfalconer.com or on the 11th House Blog, and on FaceBook and Twitter. She posts here at the Supernatural Underground on the 16th of every month. Her latest release is"Blood and Water" in Supernatural Underground: Vampires Gone Wild.

It's all in the Name

The menu is not the meal. - Alan Wilson Watts

Back in the 16th Century, early critics cautioned against reading too much into a title, saying,

The title is usually received with mocking laughter and jokes. But it's wrong to be so superficial when you're weighing men's (and presumably, now days, women's) work in the balance. Good advice, but don't titles sell books these days? I think it pays to consider them carefully.

The purpose of the title is to attract, intrigue and compel. It’s the headline, the very first sentence and it must hook the reader. It wants to sound good, to roll of the tongue, but not be overly predictable or clichéd. 

A good title can have double meanings, though it’s best to be careful there. For example, Mouse Work’s 1995 title, Cooking with Pooh is questionable, though funny.

Catchy titles can work, like Big Boom’s If You Want Closure in Your Relationship, Start with Your Legs but that’s not quite the style fantasy and paranormal romance readers are after. Maybe.

There are other considerations. Titles have to fit on the book cover. I’m not sure how Crown got ‘Charlatan: America's Most Dangerous Huckster, the Man Who Pursued Him, and the Age of Flimflam’ squeezed together with the author's name, Pope Brock, and a billy goat (I’m serious) but they did. 

Short titles can be preferable. George Orwell first called his masterpiece The Last Man in Europe until changing it to 1984.

I did a search and found there are rules to follow for selecting titles. Some writers ignore them, to their great success. For example:

Rule #1 – Don't use noun-adjectives, like Pamela Palmer's Desire Untamed (NY Times Bestseller)

Rule #2 - Don’t use proper names in the title, like JK Rowling's Harry Potter . . . right.

Rule #3 - Don’t use words like Lord, Magic, Moon, Sea, Wizard, as in bestselling JRR Tolkien's Lord of the Rings, Ursula K. Le Guin's The Wizard of Earthsea, or Patricia Briggs' Moon Called.

Rule #4 - Don’t use adjective-noun titles like Jeaniene Frost's bestselling Once Burned, Twice Tempted Or Suzanne Collins' Hunger Games.

Rule #4 - Don’t use needless complexity, like Philip K. Dick's Do Androids Dream of Electric Sheep.

Rule #5 – Don't be ironic, like Kerrelyn Sparks' bestselling Eat, Prey, Love, or Charlain Harris's Dead and gone.

Rules aside, there is a website where you can put your title to the test. This program generates the odds a title has of becoming a bestseller. If it’s accurate, my next book is going to sell a zillion copies! However the Dead Until Dark, Charlain Harris's book that spawned True Blood shows only 10.6% chance of succeeding, so maybe take it with a grain of salt.

My first two books were named organically, like pets. Book #1 in the Quantum Enchantment Series, The Spell of Rosette was just ‘Rosette’ for years. She got ‘The Spell’ as the story matured. 

Book #2, Arrows of Time was named for the narrative structure. It’s based on the theoretical notion that time is fully symmetrical - arrows going both ways and around in circles. I named Strange Attractors before I wrote a word of it. The idea of ‘strange attractors’- a pattern that appeared chaotic until seen from the right perspective - intrigued me.  

My most recent release, the novella Blood and Water in Vampires Gone Wild, was originally the idea of a series of books in this genre (paranormal vampiric romance) called Of Blood and Water. Those who have had a look know why!

Has anyone a favourite ‘title story’ to tell? Is there one that particularly compels or repulses? I’d love to hear about it. Comments welcome!

* * * 

Kim Falconer is a Supernatural Underground author writing paranormal romance, urban fantasy, YA and epic science fantasy novels. She also co-directs Good Vibe Astrology, an astrology and law of attraction school.

You can find out more about Kim at kimfalconer.com or on the 11th House Blog. She posts here at the Supernatural Underground on the 16th of every month. Her latest release is Supernatural Underground: Vampires Gone Wild.