dashPunk

I have been reading one blog post over and over again lately. In Neil Gaiman’s Journal, he wrote a wonderful post called “Why write?” celebrating the moment the story comes to life for a writer.

The best thing about writing fiction is that moment where the story catches fire and comes to life on the page, and suddenly it all makes sense and you know what it’s about and why you’re doing it and what these people are saying and doing, and you get to feel like both the creator and the audience. Everything is suddenly both obvious and surprising (“but of course that’s why he was doing that, and that means that…”) and it’s magic and wonderful and strange (Neil Gaiman’s Journal).

Since I have been struggling with a very uncooperative story that hooked me but refused to reveal to me any of its secrets, it used Neil’s epiphany as inspiration. I know that moment, but it often hard to get to. I struggled on. I begged each character to reveal something to me about themselves. I wandered through the lonely wastes of Abbey grounds, knowing full well that everything that lived there was hiding from me. Every now and then something would move out of the corner of my eye, but it was gone before I could see what it was.

Then yesterday at about this time one of my characters sat next to me and opened up about is life:

drinking a yummy Pinot grigio, listening to Cradle of Filth, and writing a bio for a vampire. Life is good right now (my twitter)

I don’t know if it was the research, the Pinot grigio, the music or what it was, but for the first time on Blackwood Abbey, I had that feeling, it made sense. Not all of it, but I could see the world a little clearer. We walked together, this vampire and I for most of the night. He told me his life story, and in so doing, shared with me the world that he lives in.

Pessimism is strong in me, so I did not accept this as a break through. I assumed that the adrenalin from the Tornado warning had mixed with the wine in some unreplicatable convergence, but I was wrong. Today, three more denizens of the Abbey have come to me to share their stories. I can see the world, and the story clearly. I hope the others will come to me tomorrow.

I have felt the magic Neil captured so well. I can only hope that my talents are up to par to wield and maintain the magic that has begun to flow through me.

(from my Amazon Connect Blog)

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In his blog, Mark Chadbourn asked the question, Are RPGs Killing Fantasy? In response, Jonathan McCalmont reversed the question and asked Is Fantasy killing the RPG? Lets take these one at a time.

Are RPGs Killing Fantasy? Chadbourn’s argument is that the ubiquity of Fantasy RPGs are robbing the magic from the Fantasy Genre:

This huge industry has turned all the tropes of fantasy into crashing cliches. Elves, dwarves, and dragons are as familiar as your next-door neighbour. We all know how magic works, as clearly as the laws of physics – it’s defined in a thousand rule books (Mark Chadbourn).

Now, I have to agree with Chadbourn on a certain level, but I always blamed publishers for making all fantasy into a version of Tolkien, but he is right.

I have always been a fan of Fantasy, but lately, I have been having a hard time finding anything written before 1950 that I want to read. It is frightening how mass marketing can turn a brilliant idea into a cliche practically over night. As a writer, it is even harder. I am trying to outline a fantasy story now, and nearly every idea that I come up with feels like something I have seen a thousand time.

Why does it feel so cliched? Because I am a fan of RPGs, and I not only seen it, but have experienced it through some form of game play. Is this the fault of the RPGs, or me for playing them. Again, I have to blame the publishers.

Business is not in it for originality, but seeks out anything it can create with a cookie cutter model. O, fantasy, slap a dragon and an elf in it, and there you go. A dragon and a spell does not a fantasy make.

Ok, lets look at the McCalmont’s question for a moment: Is Fantasy killing the RPG?

As a reader I think he’s [Chadbourn] hopelessly optimistic and, as a gamer, I think that he has the problem backwards, I think that the values and tropes of fantasy have come to infect the RPG so thoroughly that it is robbing it of its ability to innovate and progress as a medium (Jonathan McCalmont).

McCalmont argues that the Epic Fantasy market is not saturated, but is just hostile to innovation. Furthermore, he complains that Fantasy has infected all roleplaying including what he calls SF which I assume means Science Fiction not Speculative Fiction.

I have to disagree with McCalmont’s argument. Fantasy is not the contagion, it has been reduced to a simple marketing ploy. It has a wizard, and, well, you like fantasy, so buy it! The problem is that people fall for it, and spend their money on it.

The marketing departments that now run the world have reduced all genre’s into nothing more that a set of trite cliches.

• Science Fiction, add a space ship your done.
• Fantasy, add the word magic.
• Western, put a guy on a horse.
• Romance, make sure it is a love triangle with a good guy and a bad guy.

Any story that does not fit into the cliche is seen as unmarketable. The problem is not with the familiarity with the elements of fantasy as Chadbourn says, and it is not a dislike of innovation by fantasy fans as McCalmont argues. The real problem is that publishers/producers want to know what stories yours is like, and if you cannot name one, then the story is generally not produced/published. At the very least, the innovative tale will not be well marketed.

Fantasy fans are so hungry for innovative fiction, they seek out foreign authors and reprints as far back as they can find them. The trouble is with the mainstream publishers/producers who prefer to go with safe ideas than risk failure through innovation. The problem is compounded by the mainstream audience that buys into it.

There will always be innovation on the fringes, but the mainstream will never care about it. We should not delude ourselves and think that any original idea will break through into the mainstream before it has created an underground splash and inspired enough copycats to make the mainstream publisher/producers feel safe with it.

Innovative fantasy is always there for anyone who sets out to find it, but be warned, the journey is perilous, wrought with pitfalls and false leads, but in the end, it is worth the effort.

(from my Amazon Connect blog)

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A visionary speak:

I believe our performances are akin to the endeavors of the ancient Alchemists. Our goal is to take physical lead (the body & mind, flawed and inherited), and transform it into spiritual gold. Then, ultimately, generate and infect ourselves and our supporters with the great Panacea, the elixir of life, which holds the remedy for all life’s suppressions. In laymen’s terms, we believe words matter, music is holy, and art saves (Headbangers Blog).

If I could, I would quote her entire post. Their is salvation in art. Throughout the many things that I have gone through in my life, music and art have been my constant companions. Catharsis is absolutely necessary.

I have often envied musicians and painters for the power of their media to so easily connect two souls in a way that amazes me and astounds me. This is the difference between fandom and pop culture fans.

The emotional, near religious, experience that transforms people into devoted, life-long fans. We experience something that soothes a wound or that we identify with on such a deep level.

This is also the burden that anyone who considers themselves an artist has to bare. How can your art transcend the limits of words on paper, sound, or paint on canvas, and become something that is capable of carrying an unspeakable message from soul to soul. No one can plan this, it is a byproduct of listening to ones muses and riding the leopard without been eaten by it.

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What happens when you give away a book for free that you are also selling?

For American Gods:

68,000 unique visitors to the book pages of American Gods

3,000,000 book pages viewed in aggregate

And that the weekly book sales of American Gods have apparently gone up by 300%, rather than tumbling into the abyss (Neil Gaiman)

So, promoting your book actually works? Wow, who could have seen that coming?

My bigger question is whether it would be a good thing to give away a book chapter by chapter as it is being, let’s say, rewritten. Should a book like that be given away chapter by chapter, part by part, or should it be held back until the rewrite is finished?

I am glad Neil put up real numbers. I have heard claims of success but not actual sales figures before. This sounds like a success to me.

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I have been chasing an interesting story around the net. Hillel Italie reports for the AP that “Brief Books are in Style.”

In the decade since James Atlas revived the form with his “Penguin Lives” series, at least 10 publishers have started their own lines of short, nonfiction books, on subjects ranging from scientists to presidents to mythology. Although the advances are low — and sales often to match — short books have attracted such best sellers and prize winners as novelists Jane Smiley and Larry McMurtry, essayists Christopher Hitchens and Bill Bryson, and historians Robert Dallek and Sean Wilentz (Boston.com).

The majority of the article is various authors bemoaning the restrictions of the brief format. I, on the other hand, have a very different point of view.

As a reader, I simple don’t have the time to sit down for 20-30 hours and enjoy a brilliantly elaborate tale of intrigue and daring do. If it weren’t for Audible, Podiobooks, and Narrator (software for the Mac that turns text into an audiobook/play), I would not have much time to read at all.

I hear it all the time from friends and family as well. Gas prices are going up, few and few movies are coming out that we want to go see, and our obligations are multiplying, nibbling away at what little free time we had in the first place. This is a problem.

As a writer, I am happy and scared by this trend to smaller books. I love serials, and pulp era fiction, and this push to smaller books lets me write more like my heroes. It is also a strong pressure on me.

I have been working on a fix up of my book Liquid Sky so that it will be more serial friendly. It will be released as four books, one for each part, and a collected volume, and Shine Like Thunder is a short book too.

I like the format. It is possible to do more with less. My only real fear is that if our free time keeps eroding, then we will have no recreation time at all.

For now, I have to say three cheers for the short form book! Maybe, just maybe, we will see a new golden age of fiction.

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There is something missing in the copious tomes of nonfiction that are coming out these days: the courting of the mind through conversation and dialogue.

Most nonfiction writers today either tell a creative nonfiction story giving the reader the experience of the events of history through story or they simply talk to their readers instead of inviting them into conversation.

Classical and even Medieval philosophy are written in a the form of dialogues and rarely in diatribes. When I read these texts, I am drawn into conversation with the author and their ideas. I join the conversation, adding my opinions to theirs. I have no doubt that they expected me to more often than not except what they wrote, but in the common dialectics and arguments they wrote, they challenge their own ideas and answer the objections in a way that eased their own doubts.

I am a voracious reader of nonfiction. I love to flirt with new ideas and challenge my own cherished beliefs. Many times I have changed my mind on some issues that I never thought were open for debate.

Lately, though, many of the books I picked up felt they had more to tell me than to share. I do not know if it is the narcissism of our age or of the writers, but they no longer present their ideas to me as a something I might want to take in and get to know, maybe even fall in love with. Their ideas are to be accepted and followed.

I have written about this many times and in many ways, but everything is a story. No idea, concept, or belief will ever reside comfortably in the hearts and minds of people unless they connect to the story of it, and long to add themselves to the line of those who have picked up the idea before them.

Nonfiction is the romancing of the mind through words, stories, metaphors, and connection.

Have you ever noticed the relationship people have with the theory of gravity? It is amazing how people connect to the apocryphal story of Newton and the apple. We feel like we understand the concept through these stories.

Or take the works of Carl Sagan, Michio Kaku, Stephen Hawking, and Brian Greene. They connect some of the most abstract theories of physics to stories and metaphors that anyone can understand. They invite their readers into the conversation, and help them through the hard parts with grace and love filling their words.

Joseph Campbell writes as if he is sitting next to you telling a story. The ideas come alive. We are able to commune with them, flirt with them, even take some home with us.

That is the task of nonfiction. Screeds, polemics, and proclamations of any idea will only be accepted by those who have already accepted the idea. If you want someone to love an idea as much as you do, you have to show them the beauty of it.

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I have been following the trend toward free books for a while, and I have gotten used to seeing the regular suspects talking about the loss of book sales and the rise of new ways to earn a living on your words. Imagine my surprise when I saw Paul Krugman add his voice to the chorus:

According to a report in The Times, the buzz at this year’s BookExpo America was all about electronic books. … we may finally have reached the point at which e-books are about to become a widely used alternative to paper and ink.

That’s certainly my impression after a couple of months’ experience with the device feeding the buzz, the Amazon Kindle. …

It’s a good enough package that my guess is that digital readers will soon become common, perhaps even the usual way we read books (NYTimes)

Wow, that’s going mainstream. Krugman points out that as content goes digital, the easier it is to pirate and the harder it is to monetize. Unfortunately, his op-ed ends with a bleak outlook for the future of the written word.

I don’t think it has to be that way. If creative souls (like myself) are going to try to make a living with out art (literary, audio, visual, or video), we are going to have to find a way be proactive, reaching out to find new fans, and doing our best to retain the ones we already have.

While we may be on the cusp of the end of the publishing house, but that is not necessarily a bad thing. As the old industry dies, it is up to artist to create their own co-ops for sharing their wisdom with new artists, and helping their fans find those artists as well.

It is easy to get myopic and think only about our own careers, but we have to remember: A high tide raises all ships. Artists need to link to each other, and carry each others merchandise around with them on consignment. This will help each artist expose their works to more people, and help cultivate a vibrant community of fans that will support the artists.

This might be utopian of me, but if it is, that would be the first time I have ever been accused of that. So here’s to a future where the artist controls their own fate!

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A story is only as good as the back story and setting developed for the characters to live in. The hardest part of creating a new/original setting is collecting the notes, establishing the setting, and building an tale that lives comfortably within that setting without imposing artificial limits upon it. I have found seven programs that I cannot live without when I am world building or constructing a new story.

My life was hell before Evernote. Okay, that might be a little melodramatic, but before I discovered the Evernote Beta, I relied on countless handwritten notes and Word DOCs filled with the milieu and minutia of my settings. Piles of notes that I printed out to me consumed into the setting littered my desk and surrounding area. These notes were easy to loose and hard to find.

Evernote allowed me to clip these notes directly from the web and other digital sources, keep them in one program, and edit them to fit the setting they were clipped for. I wish Evernote gave me more hierarchical and webbing features similar to the Brain, but the search is fast and keeps all of my notes right at my fingertips.

The notes sync with an app running on my PCs and my Mac, they are also available through a web interface.

Everynote is free for up to 40MB/month of original notes. The Premium service is only $5/month or $45/year. Evernote.com

It’s Full of Star is one of my favorite bits of software for making star maps, but it has not been updated since March 27, 1998. I keep hoping that a new programmer will pick up where Claus left off. The program is simple and powerful, allowing you to great planets, solar systems and even galaxies that conform to known science. It also allow you to apply original maps to each planet as well as add historical information about the societies that inhabit them.

The program is free, and available from Claus’ Geocities page.

As my need for features has grown, I eventually had to break down and buy Astrosynthesis to fulfill my star mapping needs. Astrosynthesis has all of the features that It’s Full of Stars does, and adds the ability to map interstellar bodies other than just stars and planets. Maps can be up to 4GB, with Stellar routes, sector definitions, and animations that let you see what it would actually look like to travel between the stars and planets.

The best feature is its integration with Fractal Mapper to automatically generate terrains for every world you create.

Astrosythesis is free to Try, but star sectors and planet surfaces cannot be saved. It is $39.95 on CD and $35.95 as a download from NBOS. They have sample maps, screenshots and animations on their site.

I have tried ever piece of map making software that I have found. Each and every time I hope that I will find the freeware solution that will do all of the things that I want to do, and every time I return to Fractal Mapper.

I have lost track of how many years I have used the various versions of this software. The primary feature is that lines are drawn using a fractal algorithm so coasts and rivers always have a natural appearance. The software also features a nice set of tools to age a map over time to take into account erosion from wind and water. Best of all, you build your maps in layers so it is easy to remove cities or map the evolution of a city over time.

Fractal Mapper is free to Try, but only a subset of map symbols are available and the maps cannot be saved. It is $39.95 on CD and $35.95 as a download from NBOS. They have sample maps, screenshots and animations on their site.

Langmaker is software that helps give depth and context to any setting. The software offer many simple tools to create new languages and dialects based on linguistic rules that add consistency and realism to the language.

Langmaker is free and the wiki sports many useful resources for Constructing a new language or dialect.

Dramatica is the most expensive item on the list, but it is worth far more than the price they charge.

Dramatica is the best outlining software that I have ever used. Honestly, I cannot imagine writing without it. Dramatica is allows you to create detailed character profiles that can be exported and imported into other projects, and helps you create the “story mind” behind your plot, then it has the most powerful outline system I have ever seen.

First of all, there are 3 levels to detail you can choose from so if you are writing a short story you don’t waste time creating detail you do not need for the tale, or if you are working on a novel it will remind you of the little details you might forget to come up with.

Secondly, the relationship manager helps you develop the interactions between your characters so their history is shown through their actions without a lot of exposition.

Thirdly, the story forming tools are perfect in the questions they ask to help you remember to include ever detail.

Finally, Dramatica is the best tool I have ever found to defeat writer’s block. If you don’t know what you want to write about, you can spin the story wheel and it will generate a random storyform that you can write or you can extract the storyform from a favorite book, movie, or television show and build an original story through that form.

It is hard to explain the elegance of the Dramatica theory of Storyforming, but they a free eBook on the theory. You do not need to read the book to use the program, the information is integrated into each step, and it is possible to us the theory without the software, but the program vastly simplifies the process.

Dramatica sales from $200-$270 dollars and is available for Windows or Mac, but it is worth the price.

If you don’t want all the power tools, or if Dramatica is not in the budget, Celtx is good preproduction software.

I use it with Dramatica. When I have finished the story with Dramatica, I put the reports in Celtx so I only have to open one file to have all of my finished work in one easy place.

Celtx was designed for preproduction on films, but can be used for prose as well. It has built in templets for stage plays, audio plays, screenplays, and comic books. If you are writing a script, all the tools are here to format and develop your idea. They recently added the ability to automatically adapt a screenplay to a comic script or any other template they have,

While Celtx is best for media projects, it has a lot of nice tools that will help you capture your vision.

Celtx is free to download and use, and is available for Windows, Mac, and Linux.

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The most powerful tool a writer has in their box is the use of constraints, Genre, and placing limitations on themselves. Despite the way it might sound, limitation is the fertilizer of creativity.

Limitations…

1. …prevent the writer from going wild and over cluttering a story or setting. Imagine if limitations had been placed on the X-Files to keep the writers from crafting the often contradictory stories that made it to air.
2. …focus the writer so we have to develop and flesh out those things that we are allowed to have in the setting. This brings depth and clarity to the story.
3. …give the story a sense of reality. We are used to living with our limitations, and as the reader discovers the ones in our stories they come to understand what is and is not possible in the story.
4. …force creative implementations of the ideas we have allowed into the story. The only magic available in Avatar: The Last Airbender is element bending, so the writers integrated bending into every aspect of the setting and came up with creative uses of bending that are not obvious.
5. …help the writer plot the story. When writing Speculative Fiction, it is easy to get lost in the possible ways to accomplish every task in the tale. Limits clear the brush and make the way more apparent.

Limitations only work if they are carefully and deliberately chosen. If chosen carefully, they can even be a powerful way to find new stories to write.

Genre

Genre is the first limitation to pick. I know everyone says that, but no one explains why.

Your choice of Genre will immediately define you type of setting and the type of stories that can exist in that world. Do not pick an open Genre, drill down and find the one that fits what you are wanting to write in.

Take “Dune by Frank Herbert. There are many genres that books could have been written in, each would have changed the story immensely. It is the genre that makes that book what it is.

• Speculative Fiction
  • Science Fiction
    • Soft Science Fiction
      • Space Opera
        • Galactic Empire
          • Planetary Romance

The entire setting and the majority of the plot is dictated by this choice of genre. Imagine how the story would have changed if instead of a Planetary Romance, he had chosen to do a Technofantasy, or if he had chosen to made the story Hard Science Fiction, limiting it to known physics. The entire story would change.

How do you find these subgenres? Wikipedia has a good number of them listed. I use the Encyclopedia of Science Fiction and the Encyclopedia of Fantasy, neither of which are still in print, but if you can get your hands on one, I would highly recommend them.

Take time and carefully pick yours before you move on.

Constraints

Once you have chosen your Genre, list the constraints that it gives you.

Now add your own. Do aliens exist? What about Ghosts? Answer the questions that make sense for the type of story you are wanting to write. Be deliberate and keep your list of exclusions near you as you write.

Fiction in a Box

After you have built your box, figure out how to exploit it. Like Neo in the Matrix, you have to learn that the rules can be bent but not broken.

• What cultures would develop under those rules?
• How do those rules effect the characters life, profession, and the tools they have at their disposal?
• How do the rules change the technology the characters use?
• What impossible thing do the characters long to do?
• How can I use that impossible thing in the setting?

In Harry Potter, magic can do anything but bring back the dead. That impossibility effects Voldemort, Dumbledor, and Harry.

In Dune, it is impossible to see the future, truth, or to even travel through space without the spice. Those limits and the characters fears and hopes related to them drive the story.

After you have established all of your limitations, you need to come up with a story that would be unexpected in that setting.

• Harry Potter is set in a traditional fantasy setting where they are struggling to defeat a Dark Lord, but the books themselves are written as mysteries rather than quests.
• Dune tells the story of a coming messiah, but the story is about the psychology of a boy turned man who grapples with his visions of the future trying to stop them from happening.
• “Brave Men Run – A Novel of the Sovereign Era” by Matthew Wayne Selznick is a Superhero story that follows the relationship between a boy and his family.
• Liquid Sky is a story about a boy trying to defy fate, but it is told from the point of view of a coming of age story.
• “Shine Like Thunder” is a dark space opera about characters trying to survive after they are marooned on a demon filled world, but it is told as a romance/mystery.

When you establish a convention, the reader will feel comfortable in the setting. When you tell the story in a unique way, you are able to surprise the reader without making them feel the story betrayed its premise.

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Darren Rowse’s post, A Secret to Sustain Yourself as a Blogger at Problogger.net forced me to answer the questions, Who is a successful blogger? and When have I achieved success?

It reminded me of a conversation… disagreement… ok, it was more of a confrontation I had with A. C. Crispin at the last writers’ breakfast I was invited to at Shore Leave 28. She informed me that I was not a “real writer,” and I responded that I was

• a real writer when I first put pen to paper
• a successful writer when I finished my first book
• a published writer the moment the book was in print

I would be a bestselling writer when I had a book on a bestseller chart. Well, Fate’s Harrow has hit number 1 on the Amazon Charts several times.

I feel the same way about blogging, I am

• a real blogger when I set up the blog
• a successful blogger ever time a post to the blog
• a good blogger because the things I blog about interest other people (no matter if that is 1 other or a million)

I will be

• a financially successful blogger when the blog makes up a significant proportion of my income
• a great blogger when I have rallied a vibrant community of contributers and commenters to the blog

Numbers mean less than nothing to me. Would I like to have millions of readers? Sure, but I would much rather have a group of readers that share the same interests as I do and who help me find more stories that I am interested in and help me by challenging my views and opinions on the subjects I blog about. (which I already have)

I think most people stop blogging because they learn that

• they are too private or introverted to share their lives and opinions with a world of people they do not know.
• they discover that it is a lot of time, work, and effort to find topics to talk about on a regular basis
• they find out that this is not the easiest and quickest way to become a celebrity or millionaire
• they get the harsh criticism that people feel they can give you when you do anything in a public forum.

Some people just love to complain. At the book launch party for my first book Liquid Sky, people came up to me to tell me how much they hated my books… Really? What books? Do you mean the one that just came out today or the ones that you imagine that I have written so you could enhance your own sense of superiority? These are the people who just long to complain.

Blogging, like writing, is something you either enjoy or not. For some people, it is almost a compulsion. If you enjoy it, then do it. It is important to know why you are blogging, then hold onto that reason.

I blog because I enjoy the conversation, and I want to have as many as I possibly can.

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