MYC Review: Getting Ready to Draft

Today’s Master Your Craft post is a recap. Each Wednesday we’ve discussed one facet of writing a story. Last week, we finished the section on prewriting. If you started the series late or have gotten busy and missed some posts, here’s your chance to catch up! Below is a list of the posts with links to each.

 

Introducing Master Your Craft

The Big Idea

Creativity to the Rescue: Finding BIG Ideas

Build Your Main Character

Developing Supporting Characters

A Reformed Pantser’s Guide to Character Development

Friends Don’t Let Friends Write Bad Books

Finding Your Voice

Research – Make Your Story Believable

Writing Historical Fiction, or, Notes from a Time Traveler

Setting as Character

Welcome to World Building

Two Approaches to Fantasy World Building

Two Approaches to World Building for Science Fiction

Thanks for following Master Your Craft! Tune in next Wednesday as we move onto to Facing the Blank Page.

Photo by Pam Vaughan

REBECCA J. ALLEN writes young adult science fiction with heroines much braver than she is and middle grade stories that blend mystery and adventure. She’s on Twitter and her website is here.

SaveSave

SaveSave

SaveSave

SaveSave

SaveSave

SaveSave

MYC: Two Approaches to World Building for Science Fiction

Master Your Craft, writing craft, world buildingWelcome to this week’s Master Your Craft post! Each Wednesday we’ll discuss prewriting and drafting a new book from the BIG IDEA to QUERYING. Last week, we continued our series with Two Approaches to Fantasy World Building. Today we continue with world building by looking at two approaches to science fiction world building.

After reading Julie and Gabby’s post last week, we actually considered not writing this post. Really, what’s the difference between world building for fantasy and science fiction? Call the world you’ve created a newly terra-formed planet in the Andromeda galaxy, drop the magic system and add in some photon blasters and your good, right?

We found that while the basic building blocks for your world remain the same, our approaches to world building were different. We started in different places and built our characters differently, so it seemed worthwhile to do the post after all. Here’s a quick look at two approaches to science fiction world building.

Rebecca: I start with a technology concept. It’s not necessarily a huge concept; I don’t write space opera. Rather, I like to explore small changes in the technology available to a world, and the large ramifications they might have. Like the iPhone. I’m dating myself here, but do you remember when it came out? I have a vivid recollection of a friend showing me his phone and tipping the screen sideways and seeing the image reorient itself and thinking “Wow!” But I didn’t think I’d ever spend $600 on a phone. I certainly didn’t think that phones like that would dominate the market. That everyone would use them, not just for calls and texts but to manage their calendars and for Internet searches and navigation and games and entertainment. This is what I find interesting…the unexpected consequences.

After thinking through the tech, how it would work and most importantly what trouble it world building, writing craft, master your craftwould cause, I start thinking about characters. What types of characters would be the most interested in trying a revolutionary and possibly dangerous technology? I love writing geeks and entrepreneurs! Who would be nervous about the tech, perhaps wanted outlawed? Who might steal the tech for themselves and what would they do with it? Suddenly I’ve got the two sides of a conflict and can start thinking about plot points.

Halli: I didn’t start my sci-fi novel with the idea of writing in this genre. I had an idea for the plot – boy has a big, huge problem – and planned to write it as a middle grade contemporary story. It wasn’t until I developed this boy, and he showed me how much he loved science, that I realized the only way he would solve his problem was with some kind of crazy tech. So I let my imagination run wild.

I researched everything from emotions to matter, the brain to blasters. Then I took it to the next level, the fiction part of science fiction, to achieve the results my character wanted. Of course nothing works right the first time, which led to bigger and badder tech and inventions. The novel is contemporary, but the ideas, tech, and inventions still had an impact on the belief and political systems, and ideas and cultures of the world my characters lived in.

Rebecca, Julie, Gabby and I all have different processes for world building. There are as many different ways to create a fictitious world as there are Star Wars fans. And whichever one you choose, however detailed your world ends up, enjoy the opportunity to create an original part of the universe!

Tune in next week when we will recap all thirteen posts on prewriting. The week after, we’ll dive into drafting your manuscript!

HALLI GOMEZ teaches martial arts and writes for children and young adults because those voices flow through her brain. She enjoys family, outdoors, reading, and is addicted to superhero movies. You can find her on Twitter.

 

Photo by Pam Vaughan

REBECCA J. ALLEN writes young adult science fiction with heroines much braver than she is and middle grade stories that blend mystery and adventure. She’s on Twitter and her website is here.

SaveSave

MYC – Two Approaches to Fantasy World Building

  Master Your CraftWelcome to this week’s Master Your Craft post! Each Wednesday we’ll discuss prewriting and drafting a new book from the BIG IDEA to QUERYING. Last week, we continued our series with Welcome to World Building. Today we continue to examine the humongous topic by looking at two approaches to fantasy world building.

When Gabby & I started talking fantasy world building, we figured out quickly that, while we agreed that character is central to world building, we approached the actual process very differently. Instead of trying to come up with *the* way to build fantasy worlds, we decided to share our different approaches in hopes that you can use some of our techniques in your own writing.

Julie’s Approach:

The first thing I do after I get an idea for a new world is read every comp title I can get my hands on so I know what the tropes are and can either avoid or subvert. Our Writing Cross-Culturally workshop round-up is a mini-course in how to avoid harmful tropes in world building. But I also check the genre tropes section of the TV Tropes Wiki to make sure I’m going into my world building with a good idea of what’s already out there.

Then comes the fun part–brainstorming. I brainstorm both how my story is different from what’s out there AND how it’s the same. This step often happens as part of my messy synopsis so that I can get feedback on the world from my amazing critique partners.

“Every story has already been told. Once you’ve read Anna Karenina, Bleak House, The Sound and the Fury, To Kill a Mockingbird and A Wrinkle in Time, you understand that there is really no reason to ever write another novel. Except that each writer brings to the table, if she will let herself, something that no one else in the history of time has ever had. –Anna Quindlen, Commencement Speech; Mount Holyoke College, May 23, 1999

Then I dive in to primary research. For a mythology-based world (which many of mine are), I read the original epic poems or stories looking for themes. I often take something from the original that I find sexist or racist or otherwise irritating and subvert it in my story. China Mieville’s brilliant UnLunDun is a great example of subverting the typical Chosen One trope, for example, because the Chosen One doesn’t actually end up saving the day.

I also love fantasy world building that includes unexpected mash-ups. Finnish epic poems meet Star Wars. Ugly Duckling plus dragons. Goonies plus sea turtles. Building a world at the intersection of two things you love can give lots of room for creativity and help you bring that something special that Anna Quindlen is talking about in the quote above.

But that’s all pre-writing. What does the actual writing look like? You already learned last week that the ten-page info dump is a no-no and that it’s best to weave in details during scenes with forward action. Probably my most-used world building comment to my clients is: BE SPECIFIC. A platter of meat on the table is so much less evocative then roasted hell-boar basted with clarion berry jam. Even better if the main character’s father was gravely injured on a hell-boar hunt years ago or if the seeking out the clarion berries is a right-of-passage that the main character hopes to participate in soon. Then the details become a way to build character, foreshadowing what is to come, recall backstory, and, ultimately, make the world you’re creating on the page come to life.

The Girl From Everywhere has amazing fantasy world buildingSome recent books that have really vivid fantasy world building include A Curious Tale of the In-Between by Lauren DeStefano, The Girl Who Drank the Moon by Kelly Barnhill, The Girl from Everywhere by Heidi Heilig, and Six of Crows by Leigh Bardugo.

 

Gabby’s Approach:

I always do character interviews and development first. Then I do a sort-of world interview. At this point, I may have a general plot outline, but I know that as I develop details of the world, it will impact plot and character, and vice versa. There’s triangulation that happens between the three that takes on a life of its own. To build the world, I have a series of questions, some of which I’ve come up with myself, and others which I’ve gleaned from friends, the internet, and workshops.

I have a strong background in environmental science, so I always include details about the weather, the geology, the seasons, and the flora and fauna in my world building. These have impacts on the lives of my characters. For example, I might explore the variety of predators in this world. Is it a creature that might attack my character? Do they travel in packs, like coyotes? Will my character have lingering anxiety that it might eat her cat? I explore food sources. Are there plants that are harvested, or animals that are farmed–what are they and how are they made available?

I go for LOTS of details–everything from the culture and general beliefs or taboos of a world, to the ecosystem, to the clothing and housing. I’d say I might use about a third of this information in the book. If you’re not sure why these sorts of details might be key ingredients, just look at the role of the poisonous berries in The Hunger Games. Whether or not a character would know those berries isn’t just about the world–it’s about the way the character interacts with their world.

To me there are some details that are more emotional and evocative than others, because they’re universal heart-lines. In my mind those are housing, food, and religion/mythology. These three areas inform all of the best, and most emotional parts of our lives. We share food with family (unless we don’t have one, and then we eat alone). We remember our mother’s cooking, the smells and tastes of our childhood. We believe what we’re taught, or we strain against it. A well built world exerts pressure on a character, and can exert opposing pressure in their relationships. A rainy day, with its scent of wet earth, and heavy sky might mean, and evoke, something very different for me, than it does for you.

I research as needed, as I go. Examples might be anything really: tie-ins to an existing creature or mythology, symptoms of respiratory disease, how to cook a hell-boar (nod to Julie), or I may want to know about the dragonfly life cycle to adapt it for a creature of my own. I don’t really start to think about tropes, cliches or sensitivity reading until I’ve got something pretty developed, unless I notice something that gives me pause along the way.

In terms of implementation of the world, I second Julie. SPECIFICS. Really what this is about is that you don’t find the emotional, evocative ties that bind in broad strokes. Painting the world (relaying all the work you just did) feels–well, it doesn’t feel at all. What touches the reader and ties them to your character, and to your world, is the relationship between that character and the world–it’s in the MICRO. It’s in the details. It’s in the freezing cold wind that your character is going to have to go out in to get their sister. It’s in the smell of that dessert, made with special berries that only come out once a year. It’s in the sad lonely song, sung by a man with no ear for music, that everyone knows, but hasn’t heard in years because it was outlawed. The rocks under your feet impact you. They bruise your skin. All of these things are about the world, as interpreted by the character.

Three Times Lucky has amazing fantasy world building Some books that do fantasy world building  really well are: Three Times Lucky, A Year Down Yonder, Icefall, Howl’s Moving Castle, Savvy, and Scorpio Races.

Tune in next week when we will explore world building in science fiction.

Or Subscribe now and get The Winged Pen in your inbox every week!

What Can We Learn About Character Arc and Pacing from GUARDIANS OF THE GALAXY II? (Spoiler free)

Photo courtesy of Marvel.com

Months ago, my fourteen-year-old son saw the trailer for Guardians of the Galaxy II, and insisted we see it in the theater. We all liked the original movie and the trailer looked good, so on a cloudy, not-too-promising Saturday morning, we planned it as a family outing. By the time we arrived at the theater, my son, my daughter and I were still excited, but my husband looked up at the now-clear sky and said, “If I’d known, I’d have planned a hike.” This was prescient of further differences of opinion.

The movie started out strong, with well-loved characters fighting off an enormous and seemingly invincible alien. The plot moved swiftly, with all the dashing, diving and blasting you’d expect from a science fiction blockbuster. And then, after the first plot point in the story structure was hit, things slowed down for character development. This slowdown was the source of the diverging opinions.

The first movie in franchise, fans among you know, had five beloved characters: Peter, an adventurer who lost his mother to cancer when he was young and has never known his father, Gamora, raised to be the perfect weapon by the antagonist of the first movie, Drax, who lost his entire family to that antagonist, Rocket, a genetically engineered racoon who has never known any more family than Groot, the sentient tree who is his constant companion. To these characters, GOTG II adds Gamora’s sister, Nebula, and Yondu, bandit and father-figure to Peter.

If you are not a GOTG fan, you may have found yourself skimming through that long list of characters, so imagine what happens when the script writers slow down the sci fi special effects and bad-guy bashing to explore the wounds of each of these characters. All seven. In most cases, the characters are paired off so that their wounds could be explored in duos as opposed to seven separate scenes. Still, by the second of these scenes, I leaned over to my husband to whisper, “and now we will pause for character development so that at the end of the movie, we’re satisfied everyone’s issue has been resolved.”

One interesting question is, was this the wrong thing to do? The story structure in the movie was right on target. These scenes highlighting the characters’ wounds and the ones later where they were seen to struggle with the wounds are right out of a lesson on how to build a character arc. They were “correct,” and if we fast forward to the end of the movie, my fourteen-year-old son said the movie was awesome and that he shed a tear at the climax. (If you have a fourteen-year-old son, you know this is some serious praise!) My daughter loved the movie. I thought it was good, though I’d say the character development slowed the movie down too much and was a bit too “on the nose.” My husband thought the movie was lousy. On IMDB, the rating for GOTG II was 8.1, quite high, and tied with the rating of the first movie in the series.

So what lessons should we, as storytellers, should draw from Guardians of the Galaxy II?

Well, as you can see from my title, I left this as a question and welcome discussion in the comments below. I’ll probably rewatch after the movie is out on DVD and think about it some more. But one take-away is that opinions will differ. One person’s response to a movie, like a manuscript sent to an agent or editor, is subjective. My son, daughter and I love these characters, so it would have taken worse script-writing or direction for us to dislike the movie. My husband, on the other hand, was much more swayed by the folly of being in a dark theater on a perfect Spring day.

My second take-away is that character development and character arcs are harder to do well when you have seven characters you’re trying to get an audience to care about. It doesn’t mean it can’t be done, but it makes the job of the screenwriters and director much more difficult. This could be a warning about making your story-telling job harder with multiple point-of-view characters.

My third take-away is for my own writing. I’m in the final stage of revisions for a science fiction action story, luckily one with only two main characters. I’ve gotten feedback on a couple scenes that the flashbacks are too long and not connected to the main story. I keep saying, “but that’s the source of my main character’s wound” and trimming the offending scenes a little. So for me, this movie was really timely – the chance to see ponderous character development from the audience’s point of view. I’m going to be taking another close look at those flashbacks.

What do you think?

Share your thoughts on the character development in Guardians of the Galaxy II!  It might be fun to compare GOTG II to the character development in another blockbuster action film, Suicide Squad. Let me know what you think in the comments!

And if you ‘re interested in other Winged Pen posts on recent movies, check out Michelle Leonard’s thoughts on Everything, Everything!

Subscribe to The Winged Pen and never miss a post, including our monthly #FourOn400 writing contest for middle grade and young adult. Click to SUBSCRIBE!

Photo by Pam Vaughan

REBECCA J. ALLEN writes middle grade stories that blend mystery and adventure and young adult science fiction with heroines much braver than she is. She’s on Twitter and her website is here.

SaveSave

MYC: Welcome to World Building

  Master Your Craft Welcome to this week’s Master Your Craft post! Each Wednesday we’ll discuss prewriting and drafting a new book from the BIG IDEA to QUERYING. Last week, we continued our series with Setting as a Character. For the next few weeks, we will be talking about the humongous and intimidating topic of world building. Today we start by looking at the topic as a whole and how it can be applied to contemporary stories.

At it’s most basic, world building is fun, the height of creativity. Close your eyes and imagine a society as strange and decadent as Panem, the capital in The Hunger Games, or place as real and (to some) familiar as a middle school basketball court. Let your imagination run wild, or keep things simple and true. What will serve as the best backdrop for your characters and action?

  • When is the story happening? Past, present, or future?
  • Where? Small-town, America or a galaxy far, far away?
  • What resources do your characters have at their disposal? Money? Magic? Advanced weapons? Or nothing but their own muscle and ingenuity?
  • What do your characters believe and how does that square or contrast with the beliefs of the society around them?

So why is world-building intimidating? Because if you allow yourself to dream up something spectacular and then take the ten or twenty pages to outline your masterpiece of a world, every critique partner will tell you to delete it and get your plot moving. The hard thing about creating a world isn’t dreaming it up, it’s dropping bits and pieces everywhere in your story, not serving it up in one big chunk.

Let’s look at building the world for a story. There are so many potential areas to consider,  it’s helpful to have a checklist:

  • Geography– environment, terrain, weather, rural/urban setting, natural resources
  • Politics– types/roles of governments, stability, power, laws
  • Society– population, city/town size, diversity, gender/family roles, education, language, architecture, naming conventions
  • Economics– finances, socioeconomic status, cost of living, unemployment, import/export
  • Belief Systems– religion, spirituality, practices, freedom, tolerance
  • Ideas/Cultures– values, dress, arts, heroes, communication, leisure time
  • Technology– types, availability, usage

So how can you avoid the ten-page info-dump? Here are a few hints about slipping your world into the story.

  • Character’s actions
  • Social context
  • Physical descriptions
  • Language/Emotions
  • Names
  • Sensory descriptions – smells, sounds, texture
  • Dialogue

Let’s look, again, at The Hunger Games.

When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress. She must have had bad dreams and climbed in with our mother. Of course, she did. This is the day of the reaping.
From The Hunger Games, by Suzanne Collins

In the first paragraph of the book, we learn that Katniss’s family is poor (bare mattress), and we’ll know by the end of the second page that her whole district is. We learn that Prim is important to Katniss. We don’t know what the reaping is, but we know it’s bad and will keep reading to find out more. The trick that Suzanne Collins pulls off so well, is to keep the action moving while you pull the reader about your world. To show the world it in everything the characters see, feel and think.

It is easy to pick out the world building bits in fantasy, science fiction and historical fiction, but what about contemporary stories? On one hand, writers of contemporaries get it easy. The world of their story is the world of the reader, so it’s all out there. That allows some short cuts. On the other hand, ours is a big world. Where does this story take place within it?

Let’s look at the first page of The Crossover by Kwame Alexander.

Dribbling

At the top of the key, I’m
MOVING & GROOVING,
POPping and ROCKING
Why you BUMPING?
Why you LOCKING?
Man, take this THUMPING.
Be careful though,
‘cause now I’m CRUNKing
CrissCROSSING,
FLOSSING
flipping
and my dipping will leave you
S
L
I
P
P
I
N
on the floor, while I
SWOOP
 in
to the finish with a fierce finger roll…
Straight in the hole:
Swoooooooooooosh.
from The Crossover by Kwame Alexander*

The constant movement, slang and trash talk sets the world quickly. A sports game. Did you guess we were on a basketball court before the swoosh? In this world, the young player knows he’s good and wants his opponent to know it too. You may not know much about the character yet, but I bet you’re not imagining this gym is in some fancy prep school. This world building is all done while he’s taking the ball to the net.

Tune in next week when we will explore world building in fantasy. You can also find more information on world building here:

https://www.youtube.com/watch?v=Q4nVDoojTrs
http://nkjemisin.com/2015/08/worldbuilding-101
http://io9.gizmodo.com/7-deadly-sins-of-worldbuilding-998817537

*Apologies to Mr. Alexander. I could not get the formatting of his words nearly as cool as it is in print. See the published novel for the full effect!

HALLI GOMEZ teaches martial arts and writes for children and young adults because those voices flow through her brain. She enjoys family, outdoors, reading, and is addicted to superhero movies. You can find her on Twitter.

 

Photo by Pam Vaughan

REBECCA J. ALLEN writes middle grade stories that blend mystery and adventure and young adult science fiction with heroines much braver than she is. She’s on Twitter and her website is here.