Learn the Magic of Writing Fantasy

Aspiring writers who want to know how to write a fantasy novel must develop not
only fantasy characters, but also the fantasy world in which the story takes place.
Fantasy, world building includes elements of magic, geography, climate, history,
religion and social structure. Fantasy characters then move about these
kingdoms, lands and realms where the fantastic awaits at every turn.
Writing a fantasy novel leads authors to unique dimensions of the imagination.
Wizards, witches, warlocks, and other fantasy beings gifted in the craft of magic
or who possess supernatural powers present avenues for plot twists as unique
as the fantasy authors imagination. Articles listed here will help the aspiring
author learn how to create fantasy characters and scenarios within mythical
magical realms.
Fantasy Mythical Magic How it Works
Threads of the supernatural and fantastic run through fantasy novels no matter
the subgenre. Modern day fantasy conjectures worlds different and separate
from the world in which we live. When writing a fantasy novel, it helps to map
geographical terrain of the fantasy world and track supernatural elements and
powers, including magical amulets and other charms along with how they work or
dont work.
Fore example: Items such as swords (The Sword and the Stone), shoes (The
Wonderful Wizard of Oz), wands (Harry Potter and the Sorcerers Stone), spells,
enchantments, and etc. all operate under a set of rules, because even in magical
realms laws of magic apply. Mapping and tracking help fantasy writers produce a
logical foundation for where characters live and how mythical magic works within
the story. When this is done correctly, readers learn to accept supernatural
elements as natural because they make sense.
Fantasy World Building
To learn the art of world building, fantasy writers must take into consideration that
mythical magic stretches parameters of possibilities beyond the norm. Natural
elements like climate, geography and history set the scene but may fall under
magical influence. For example: A fantasy worlds history can change if a
character travels back in time (magic) and changes a single event (A Wrinkle in
Time, and The Time Machine).
Geographical landscapes may be subject to alteration if a spell or enchantment
causes a change like a shift in the suns intensity. If the suns strength increases
or decreases, landscapes may shrivel from lush and verdant to desert or ice-
encrusted. Consider The Lion the Witch and the Wardrobe where the white witch
ensures that it is always winter. Collecting appropriate information to make your
world changing events believable will require research.
Fantasy world building involves real world fundamentals such as government,
politics and legal systems to enforce the law. When considering the part history
plays in the development of a fantasy world, things like wars, commerce and
trade, science and technology all hold significance. Even rudimentary aspects of
daily life involving manners and customs, education and specific apparel may
play an intricate part in the story line. Create enough past and future to make
sense for the storys timeline.
Developing Believable Fantasy Characters
World building sets the stage for believable characters to live within the charmed
borders of the fantasy world. Fantasy authors supply characters with a working
knowledge of how the magic works. For example: Flora and fauna may transform
into characters with unexplained capabilities such as casting a spell of
forgetfulness, or cursing anyone pricked by a thorn with 100 years sleep, while
inanimate objects like rocks can take on life to become an indestructible foe.
Flower people, rock monsters and other entertaining characters come to life
when the magic works, and fantasy characters with more human-like
characteristics accept these other life forms as a genuine part of reality.
For instance in Tolkiens The Fellowship of the Ring, Gandalf visits Frodo and
passes on the history of the ring. Readers accept not only hobbits, the powers of
the ring, and the rising of the Dark Power in the Land of Mordor, but when Frodo
and his friends have barely left the Shire, their encounter with the Black Riders,
although mysterious, is believable. A working knowledge of mythical magic
unique to the world aids readers in understanding characters, supplies a
knowledge of whats at stake and a comprehension of what resources are
available as characters enter epic battles of good versus evil with a full
understanding of what to expect.







Creative Descriptions For Fantasy Novels
Creativity comes from an active imagination. As with every other skill, whether in
sport, art or calculation, practice and exercise is necessary for improvement. So
here is the first simple tip to help improve your creative Fantasy writing skills.

Write Everyday

That's easy and it's obvious, but some days your muse is slow to rise. We use
the right side of our brain to daydream and for creativity. Our muse allows us to
escape from the mundane plain of reality. Don't panic. Let your imagination take
control. Need inspiration? Look at your shopping list. Can you take five items
from the list and use them to describe a meal? Find those words you have stored
for later retrieval, use a thesaurus stretch your vocabulary. There will be time
later to hone the excess, for now we want to wallow in words.

Describe each object. Forget brand names or conventional jargon. Give the
object a new name, for a new fantastic world. Be inventive. Be creative. Let your
imagination run wild. Address each sense; smell/taste, touch/texture, sight,
hearing. Describe how the object makes you feel.

Here is an example: Take an ordinary tomato. Did I hear you mutter "Big, red,
round" You are a creative writer! You can do better. It is no longer a tomato.
Think of the fruit, hold it, smell it, imagine biting into it. Let the right side of brain
guide your muse.
The ripe fruit threatens to burst through the membrane of skin. Smelling of the
vine, baked under a summer sun, red flesh weighs heavy in my hand. Light
skims across the smooth surface, slowed by the spread of rough foliage around
the stem. In a moment of silent anticipation, saliva flows as anticipation spurs
each gland. Try this exercise yourself.






The Swordsman of Fantasy
In medieval fantasy settings, and even futuristic fantasy worlds, writers lean
toward swords or sword-like weapons as a favored choice. As writers, it's
important to convey realistic detail so readers see the sword in their mind's eye,
feel it and know how to use it. Fantasy writers must learn how to verbally swing,
slash, jab, jump, gyrate, tumble and roll through the acrobatics necessary to
avoid the blade of an enemy while engaging the rules of honor that dictate
honorable swordsmen behavior. (What is honorable may change from one world
to the next.)
Fantasy Character Skills
Equip fantasy characters with needed skills and resources to make the plot work.
Swords make interesting weapons; the fight becomes personalface-to-face.
Samurai swordsmen prized their swords, how does your character feel? Does his
sword hold sentimental, spiritual, mystical or superstitious value? Did the
character inherit it, earn it, buy it or find it?
Samurai also carried a smaller sword thrust through their belts. Defensive
strategy positioned this smaller sword with the cutting edge upward. This allowed
swordsmen to deliver a swift, lethal blow from scabbard to target in one move.
When the enemy pins your character into a tight situation, what avenue of
escape have you created? What skill sets does your character have to fall back
on? Research history for interesting techniques, mixing and matching skills to
create a unique warrior type character (even a reluctant warrior).
How do soldiers or military characters move about your fantasy world? Do they
ride steeds? March in rows? Travel in an underground tunnel system? Roman
soldiers traveled on foot. Each one carried a short sword, a dagger, a spear and
a shield. Soldiers' backpacks included provisions like cooking pots, bedding and
enough food to last up to three days. How do your characters survive in the field?
Do they travel in troops or is your character a lone wolf? Does almost everyone
carry a sword or is that reserved for an elect group?
In the realm you've created, who fights and why? Is every character equal? Is
slavery permitted? Is war a military function? In ancient Rome, slaves captured in
battle could sometimes earn freedom by fighting wild animals in the arena as
gladiators.



Training Your Fantasy Character to Fight

Train fantasy characters to fight (even if it is by default). What does your
character need to know? Training techniques followed by squires in medieval
times make a useful how to for preparing your fantasy character for battle.
Squires practiced sword against a pell (a wooden post or tree trunk). This ancient
training device served as a target. One training technique required practice with
weapons double the weight of those use in combat. This built muscle. Time
spent one on one with a tree trunk also provided plenty of thinking time and
introspection.
Training time for fantasy characters develops the appeal, integrity and charm of
the protagonist or the opposite where the antagonist is involved. They change
not only physically but psychologically, learning that they are someone different
than when the training began.
Consider the time Luke Skywalker (Star Wars) trained under the revered Jedi
Master, Yoda, on the swamp planet Dagobah. The weather and wildlife made for
an arduous training site, but through it viewers learned and grew with Luke
Skywalker. Luke leaves the planet pondering future possibilities as he sorts out
visions and magical powers available to fight the Dark Side. Through this
training, viewers understand the fantasy technology enough to comprehend how
lightsabers work, that Luke's technique still needs honing and to recognize those
fighting on the Dark Side and that the path of a Jedi is difficult. His training added
to tension and conflict within the plot.
Another medieval training event included putting. Today we are most familiar with
the shot put event. Putting requires throwing in a pushing motion. Squires
practiced throwing big stones--the stone put. It increased strength and stamina.
Writers can take an event like this and make it their own. The Jedi accomplish
this feat with their minds. Depending on culture and technology, the throw can
include objects and rules that work to move the plot along.
Don't limit training to these two events. Do some research.
Well Rounded Characters
Develop characters with strengths and weaknesses. No one is proficient at
everything. A squire's training covered everything from code of conduct to social
skills including courtly etiquette, dancing and jousting. They practiced fighting
with sword and buckler, learned acrobatics, fighting with a quarterstaff and how
to operate siege weaponry.
Each aspect of training offers room for the plot and characters to take new
direction. A character full of self-confidence on the practice field may feel shy and
even timid on the dance floor. As a whole, the sum of experience should take
your character from boy to man, girl to woman or man to changed man and so
on. The process engages the reader, make them care, and keeps them reading
to learn what happens next.
Swords in Fantasy
In fantasies like The Sword and the Stone by T. H. White, Arthur went through
this maturing process. The sword plays an integral role within the plot when the
king dies without an heir. The prophetic blade found thrust through an anvil on a
stone in London bears an inscription that presents the central theme of the story.
"Whoso Pulleth Out the Sword of the Stone and Anvil, is Rightwise King Born of
All England."
In fantasy, the sword itself can take on a role almost as if it is a character. In T. J.
Glenn's Warrior Priest, crystal swords grown magically from the blood of the
warrior make the weapon uniquely part of the warrior. Swords grown from blood
crystal connect with the owner almost as if it is part of their body.
In Star Wars, the sword-like lightsaber forms a blade-like shaft of pure energy. It
hums, shimmers and can cut through almost anything in the hands of a Jedi. The
magical element of the Force allows the Jedi to predict and deflect incoming
blaster fire. The color of the energy forming the blade tells viewers whether the
energy is from the Dark Side or the Force.
Crafting a Fantasy Sword
Fantasy writers involving a sword as a significant part of the story line must make
the weapon unique and interesting. In medieval times, the sword served as the
knight's main weapon. Is the sword in your story the main weapon or a treasure
sought? Consider what the fantasy sword can do, what it can't do, and what your
character knows and needs to learn.
Here's a bit of detail to consider as you fashion a sword on the anvil of
imagination. Double-edged swords bore a groove called a fuller that runs the
length of the blade making it lighter. Decorative handles also worked as counter
weights making the sword easier to handle. However, if your character is fighting
futuristic armor plated foes, more pointed swords make for better thrusting
through gaps between the plates.
Historically, sword handles included decorative details like fish-tails, fig-shapes,
and other unique-shaped pommels. Take an element unique to your fantasy
world and incorporate it in the swordstamp it with the maker's mark. As you
design the sword handle, think of your character's fighting style. Handles for one-
handed swords were shorter, whereas swords built for two hands added enough
length to be gripped by two hands.


















POV: Point Of View
First Person Point of View
We have already discussed basic Points of View. Here we look a little deeper
into writing fiction in the first person. No matter which POV you choose, to keep
your reader hooked, the narrator needs to be consistent.

Looking at First Person, we leave the reader to trust the narrator. The narrator
gives us their perception of action and emotion. The reader must trust Their
understanding of the overall situation could be flawed.

Example of First Person Protagonist: In this point of view the narrator tells the
story.

"I knew it was a mistake. The minute I walked into the house. I could see the
shadows move, the smell of rats and moldy straw made me gag. A stale breeze
circled my ankles."

Example of First Person Witness: A witness tells the main character's story.

"I could see her open the door. Around her the shadows moved. Her nose
wrinkled, her mouth as she looked toward me with a silent warning. A stale
breeze stirred the dust at her feet."

Example of First Person Re-teller: A third person tells the story as it has been
related to them.

"I can only tell you what I heard. When she opened the door, she saw the
shadows move. The smell, she said was awful. Like moldy straw and rat
droppings. The breeze coming from the cellar was stale, or so she said."

Example of First Person Singular. Good for informal writing. This POV tends to
involve the reader.
"I am not going to listen to you now. On Monday I will explain everything."

Example of First Person Plural. Less informal, but leads the reader to being in
partnership with the author.
"We are not listening to you now. On Monday we will explain everything."

This point of view can be used effectively to encourage the reader to empathize
with the main character. When using first person point of view, there are a few
things to watch for.

Who is telling the story and why is the story being told? If told as a story, or
written as an account, a diary or log or letter, each situation will need different
style. If it is a tale told over drinks, or a historical recollection the tone and voice
will be different. Think of how people chat at the pub, compared with how they
talk on the phone; address a crowd of strangers or a group of friends at a
wedding.

Listen and watch how people chat. Listen to dialogue and note how manners
change in different situations.

When is the fiction being written? Is it immediate, as if inside the narrator's head,
is it written as if spoken to a public gathering or written as a recollection.

How accurate is the narrators understanding? Can their account be trusted? How
biased is there version of events?

Before you begin to write using this point of view, examine your plot arc, your
character's profile and the extent of interaction in your settings. Consider if this
Point of View offers enough scope for your Fantasy fiction.

Although this POV is useful for maintaining empathy for the character, there are
limitations and for Fantasy fiction, it is not the normal choice for emerging
authors.

Think of the different ways people talk or write. Experiment with writing as if from
a diary or a military report. Try writing a short scene using each type of first
person viewpoint.





















Building Fantasy Castles Part 1
Fantasy writers learn how to create mood and evoke emotion with a single
structure. A castle. Situated on a high, hard to reach location above the village, it
presents a looming silhouette. It doesn't matter if it's situated on a steep cliff,
hilltop, or a peninsula point along a rocky shore, when writing fantasy build the
castle on a hard to reach location. A difficult to reach location presents magical
moments to introduce conflict and tension along the road as characters endure
hardships throughout the journey to and from its formidable walls.

Within your storyline, strategic location offers not only a natural first line of
defense but makes for a fantastic setting. Consider the frozen wonders of the
castle belonging to the witch in The Lion, the Witch and the Wardrobe or Castle
Frankenstein located up on the hill as the angry torch-bearing villagers stream up
the hillside to storm the castle.


Castle Building Basics for the Fantasy Writer
As a fantasy writer, it works to your advantage that no two castles are exactly the
same. However, it is important to keep basics in mind. For instance, you'll want to
know the different terms within the castle construct to paint a clear image that
allows readers find their way around as they follow characters through plot twists
and turns.

Dig deep, wide moats outside the castle's curtain wall and fill them with water to
present a habitat for hazards unique to your fantasy.

Drawbridges raise and lower to gain access to the heart of the castle, called the
keep. (This is where the lord and his family live.) However, an opened
drawbridge doesn't always mean travelers can get in. Usually, they would be
stopped by an iron grating called a portcullis which hangs at the gateway as
added protection.


How to Lay Out the Grounds--The Castle Keep
When authors write a storming the castle scene, it's important to know that a
castle is actually a fortified group of buildings. Based on history, learn how to lay
out the castle grounds, so when the action gets heavy the reader doesn't become
confused. What are the outer buildings made of? It may matter to the storyline.
Woodframe buildings burn, stone buildings will not produce the same effect.

The keep towered above the surrounding curtain wall. In the keep, the lord, his
family, skilled servants and craftsmen lived along with some of the lord's best
soldiers. If the enemy breeched the wall, the lord headed to the security of the
keep where twenty-foot thick walls offered added protection. Such a rich
combination of character possiblities makes castle life a popular choice among
fantasy writers.

Think of scenes where a battering ram pummels a sealed drawbridge, and
soldiers defending the castle pour boiling pitch onto advancing armies, while
archers line the parapets, and catapults thrust bone-crushing stones into the
horde of attackers. Many of the people protecting the castle lived there and
others gathered at the castle when war threatened the land. Under the feudal
system, in war, vassals fled to the castle and helped defend it.

For more, go to part two of Building Fantasy Castles










Building Fantasy Castles Part 2
In Building Fantasy Castles Part 1, writers learned elemental castle basics. Now,
we'll look inside and learn how to build the castle with the plot in mind.


Develop A Plot and Build a Castle
As you develop your plot, don't forget that characters living within the castle walls
know their way around. Some better than others. Add secret passageways and
rooms. Limit furtive knowledge to a select group. Use the information to interlace
elements of suspense. Remember, the keep wasn't just a tower where the lord
lived. It worked more like a stockade, or a second line of defense in case the
enemy breeched the outer walls.

Build defense strategies into your castle. Normally the entrance of the keep was
placed high into the wall and out of reach without a ladder or stairs. Historically,
wooden steps leading into the keep could be pulled up behind retreating
defenders at the first sign of danger to cut off access. Putting details like this in
place ahead of time, puts the reader in the scene when a character fleeing to the
keep watches in dismay as his way into the keep is yanked inside. He's left in the
courtyard to face. You get the idea.


Inside the Keep
The entrance of the keep led into a tunnel that spilled into a great hall, one of the
largest rooms in the castle. The hall served as a dining room, office and more all
rolled into one. In fact, in the Hierath Trilogy by Joanne Hall, a great festive feast
was regularly held in this hall during Winterfest. The royals sat on a platform
separated from the servants. The great hall is a big room available for the fantasy
writer to rearrange. Make it a playroom, a war room or sanctuary created to work
with your plot.

Sleeping chambers belonging to the lord and his family connected to the great
hall by a balcony while in the belly of the keep below the hall, creepy dungeons
and storerooms offer settings for the makings of a treacherous rendezvous to
overthrow the king, or a secret way into the castle. In the fantasy novel Hierath
(the first in Jo Hall's series) large steamy vats reached by ladders present
dangers to the young woman employed in the laundry found in the bowels of the
castle.

Like I stated in part 1, every castle is unique. Castles underwent improvements
as new owners moved in which opens the door to construct a castle that works
for your fantasy story. Include enough detail to make navigating the halls a
learning experience.


Castle Walls and Plot Twists
Take time to determine placement of structures strategic to the plot. For instance,
flanking towers often connected the outer curtain wall, which was anywhere from
6-20 feet thick. Servants that lived within the castle confines, but not within the
keep, dwelled in small wooden or stone structures in the castle yard, which was
known as the bailey.

Passages behind the parapet known as wall-walks, lined the curtain wall. This
means of access make for exciting scenes as people prepare for battle, flee from
the enemy or even for lovers to meet away from the keep in a secret embrace.
Wall-walks were reached by stairs running parallel to the wall. Even the stairs
offer a great place for a swashbuckling sword fight.

Another man-made defense built into the curtain wall were three to twelve foot
long arrow loops. These were usually narrow slots (about 2 inches or less wide),
which allowed the firing of arrows from behind the wall's protection. Arrow slips
evolved over time presenting a more practical range for the archer as horizontal
and wider slots were added.

Researching historical details establishes facts in the fantasy writer's mind, and
also opens new doors within the imagination. Search out enough history to make
your castle real on paper, and use the mortar of the imagination to make it an
unique experience for your readers.















How to Be a Fantasy Writer
Do you think you could handle being a fantasy writer? Can you see yourself
working from home, meeting deadlines that you set, choosing a target audience,
meeting people, marketing, and taking control of your future? Then this could be
the choice for you.
Becoming a published author has never been easier. Hundreds of new writers
are published every year.

Readers Are the Best Writers
Anyone who reads with a passion absorbs the underlying pattern of plot,
character portrayal, storyline and background. Famous authors will tell you how
they read, every spare moment they have.
So you have a story to tell. Next step is to take note of what is popular. Write
fiction your readers will devour. Readers dictate demand. Give them what they
want and becoming famous and success are knocking on your door. A self-
published writer might write to discover their unique style or voice but if you are
writing for mainstream publishers, adhere to the rules your readers set.
Once you are committed. Practice. Write every day. Write, read and learn about
your chosen genre. Newsletters, magazines, forums online sites, provide an
endless scope for research. Take courses, join and participate in review sites.
Explore your talent while you learn from others who share your passion. Take
heart as you learn to recognize mistakes. You are closer to success.
So Your Passion is Fantasy
Fantasy follows certain guidelines. Contemporary fantasy fiction must contain an
aura of magic, to fulfill the elements of this genre. Heroes on a quest demand a
certain style of writing. Keep cliches to a minimum. Avoid colloquialism and
slang. Create your own terms and colorful language.
Find others who share your passion and get feed back on your work. Online
writing forums, critique groups and courses can provide the necessary support
write Fantasy fiction. Find courses where you can learn correct grammar, good
sentence structure, crisp dialogue and formatting. Writing for the Fantasy genre
is fulfilling, every writer can find support and feedback online.
Fantasy Readers
Target your Fantasy audience. Learn about what people are reading, by visiting
bookstores, reading magazines and watching awards. Taylor your writing to the
plot arcs of popular Fantasy fiction.

Creating characters and worlds beyond imagination, delving into the depths of a
crisis, or having a hero develop through conflict is exciting. The goal of writing
Fantasy fiction is to write what your readers want. Follow trends, research on the
internet, in libraries and bookstores, read magazines and learn what publishers
are looking for in Fantasy fiction. Read best sellers, news headlines, genre
forums, check out bookstores and learn what the publishers are taking onboard.

Write Write everyday. Join writing groups, review and get reviewed.
Research Know the genre and read the work of famous Fantasy authors.
Learn Find your audience and create a query letter and synopsis to impress a
publisher of Fantasy fiction. If your work is self edited, and polished, you might
consider self-publishing and self-promotion.
The successful Fantasy writer, will hone their grammar skills, learn to edit, and
follow trends in contemporary fiction. With determination and dedication, they will
succeed in their chosen career.
Correct Grammar and Self Editing
When the ink dries on your epic Fantasy, take time to self edit your work.

Read your writing aloud.

Listen for flow, for rhythm content and pace. All fiction improves when writers
use this devise.

Revise looking for correct grammar and typing errors.

Learn to edit. Keep a list of editing tips, words common problems to avoid,
beside your work. Keep to the plot arc and cull all scenes and words that deviate
or fail to drive the plot forward. Watch every word and even a convoluted plot
can become a flowing narrative that will keep your reader hooked to the final
word.
How to Become Famous
When writing Fantasy, you need to know who publishes your genre. Find
publishers who print fiction similar to your writing. Address the industry through
writing groups, blogs, forums, organizations and writing associations. Form an
opinion and write and speak wherever you can. Take the challenge, enter
contests, take tutorials, and join forums of authors who share your genre. When
you approach a publisher, mention in your query letter, the places with which you
are affiliated and demonstrate how your time is dedicated to becoming a famous
author.
Promotion and Marketing
To become famous as a Fantasy writer, you must promote your work. Become
involved in forums, writing groups. Network, consider public speaking, attending
conferences, design a website, blog, and a fan club. Submit articles wherever
there is an interest in your genre.

The old idea of publishers promoting authors has gone by the board. If you want
to be a famous author or Fantasy writer, learn how to sell your books. Treat your
writing as a career and do everything in your power to attract attention to your
work. Learn how to promote yourself and your work as a professional.
Things To Do.
Find a writing site that hosts a Fantasy Fiction forum. Post a sample of your
work. Review other writers. Learn as you read. Make lists of grammar problems
or solutions, points of view used, unique language, plot arcs used and publishers
who print your genre.




























How To Build A Fantasy World
Fantasy writer Donna Sundblad's creative writing book Pumping Your Muse
states, "World building on the front side of writing your story reduces the
likelihood of going back to add threads of details about your world to make the
plot work." Creating a fantasy landscape is a foundational aspect when writing a
fantasy novel. Geographical detail captured on paper helps develop scenes
logically, correctly and with clarity. If the evil sorcerer lives beyond the dark forest
to the south, indicate trees to the south on your map with a mark showing the evil
sorcerer's home. It doesn't have to be an artistic map worthy of publication.
Instead, it should be detailed in a way that the fantasy author understands and
recognizes.


Mapping Fantasy Landscape
When mapping your fantasy landscape, consider what's important to the
emerging society. Include categories like:

Fertile Farming Land - Agriculture: Fresh produce is needed even in the cities.
Where does it come from? If it is transported from more rural areas, how is it
moved? Or, does each home have a garden tucked away on flat roofs, or
community property set aside for this purpose?

Water Resources: Gold or silver profits nothing if you have no water. How scarce
or abundant is water in your world? How does the water system work? Do water
treatment plants exist? If so, are they well protected or is there no need for such
fortification? Is the water run through pipelines or does it travel by more natural
avenues? Does water supply power? If a dam exists, be sure to mark it on the
map with consideration of potential devastation if it should break.

Seaports and Industrial Areas - Commerce: What type of goods do the cities in
your fantasy land buy and sell? Is the economy healthy? Are things bought on
credit, or do people pay up front? What currency is accepted? Is this the same
throughout the kingdom? Does trade exist between other cities, provinces or
nations? How did this trade relationship develop?

Forestry: Is the majority of your fantasy world forested? If cities exist, do they
have parks, forest preserves or other natural settings for the residents to enjoy,
or is it a futuristic, barren post-nuclear war metropolis? Consider the importance
plant life plays in the quality of air and condition of soil.


Fantasy World Seasons and Weather
The same town or setting, with a different climate makes for a different scene.
Sounds of wind and rain change the setting's mood. Depending on other known
factors, weather elements add a sense of suspense to an otherwise ordinary day.
Use weather to provide an obscure foreshadowing. For instance, according to
weather folklore a condition known as storm moon occurs in March. A fantasy
writer can take a tidbit like this and incorporate it as fact within the fantasy world
to give the moon powers that change the weather, thus setting the scene for the
plot to unfold.

Does the expanding fantasy land experience four seasons? Are any of the
seasons harsh or extreme? Are the seasons changing and unpredictable?

Take a look at the weather channel, or even your local weather broadcast. Jot
down weather in various parts of the world and problems that arise. Use the
information to add a splash of weather to your world to stimulate your imagination
and see what happens.


Construct a History
Fantasy novel writers work out a history as they build a fantasy world. This
involves anything from politics, religious views, and anything similar that may
divide or bring people together.

Books with pictures stimulate world-building ideas. Encyclopedias for older
children present one potential source. Flip through the pages and glance at the
pictures. When you find an item or event that stimulates your imagination,
consider it. Text included in this type of book is short enough to peruse
information in minutes. From there you can either research it further, use what
you've learned or dismiss it entirely. The bottom line is that it doesn't waste a lot
of time.

Don't allow character or plot to sidetrack from the task of pulling together
geographical details; jot down exciting but distracting ideas to get them out of
your head and into a safe place until the basic world has evolved enough for
characters to walk about. If your story takes place in a specific city investigate the
history of that city. Even when writing fiction you need to use enough facts to
make the story believable.

Once the landscape is in place, add characters and build a rough timeline. The
past and future don't need to be well defined, but exist enough to help the fantasy
writer know where characters came from and where they are going.
Chivalry In Fantasy Writing
To learn how to write an element of chivalry into fantasy, first ask why it's
important. Fantasy writers establish a code of conduct to help readers
understand who is good and who is not. Fantasy realms open opportunity to
create a different code of ethics. Although ethics differ from world to world, they
still need to be anchored in the real world to allow the reader to relate.

In medieval times the church fostered a code of chivalry. Fantasy writers today
often include historically chivalrous themes including basics like upholding the
honor of women and the protection of the weak. How that's accomplished will be
determined by the code of conduct established.

For example, in the fantasy novel Windwalker, the young protagonist is taught by
his grandfather not to stare at the bumblefoot but to treat her with respect. This
may sound more like good manners, but this behavior goes against the queen's
edict, which declares a bumblefoot baby be killed at birth. Instead of treating her
with respect, the law requires she be reported. The code of conduct reflected in
the hero's actions at a young age goes against the law. Readers know breaking
the law is bad but are forced to make a moral stand. Do they agree with the law?
When the protagonist doesn't report the girl, it's no longer the grandfather's ethics
but his own. Circumstances introduce what is right and wrong; while the fantasy
writer motivates the reader to take sides.

Chivalry found its birth amid the obligations of service and loyalty within
feudalism. This righteous code of conduct actually curbed some of the
bloodletting violence of the medieval era. However, an adulterated version of
chivalry carried crusaders on savage quests that left behind scars still festering in
some cultures today. With all that in mind, how does chivalry work when writing
fantasy?


Adulterated Chivalry In Fantasy
Just as the contaminated code of chivalry went forth with the crusades, such
scenarios make for interesting fantasy civilizations. In today's culture we think
any man can be considered chivalrous, but historically it wasn't so. In practice,
chivalry was limited to knights, barons, and earls. Men of noble birth.

Unusual fantasy cultures present new and unique qualifications for what
constitutes noble birth and chivalrous behavior. Questions to consider when
developing a fantasy culture include: Are characters born into nobility or similar
social distinction? Does wealth and poverty play a part? In Windwalker the
distinctions presented by the racially divided society offer opportunities for
underdogs to shine the light on what is truly chivalrous.


Growth Of A Chivalrous Fantasy Character
Chivalrous behavior is a matter of heart more than living according to a set of
rules. Chivalrous development within the fantasy character builds on lessons
learned. Lay a foundation showing how the fantasy world works. This leads
readers to form an opinion of what is good and honorable. It doesn't have to be
an extensive detailed account that tells the reader what to think, but rather
snippets that allow the reader to learn along side the character as they grow.

Historically, a youth of noble birth went through years of training before he could
be admitted into the ranks of knighthood. The title of knight was not only earned
but a sign of military excellence. About the age of seven, he started his
pilgrimage to knighthood as a page. He ran errands and performed humble tasks
for noblemen and ladies. During the process, he learned proper manners and
received an education. This was the foundation.


Training A Fantasy Character
Rites of passage open the door to creative plot basics. Youth can tend to be
rather cruel or overly sensitive. Training forges the fantasy character as they
move away from what is known into a new environment that tests the character's
integrity. In the right scenario, times of training draw lines between internal good
and evil-right and wrong. These situations not only define a character, but also
draw the reader to care-to love or hate.

Traditionally, when the page reached young adulthood (about age 13) his training
became serious. He moved from the comforts of home into a castle owned by a
friend of his father. Within this castle, he'd live and work as a squire. This is the
time he learned the skill of using a sword, lance and shield. These skills were
honed in mock battles with other squires.


Fantasy Readers And Characters That Connect
Fantasy readers learn along with characters in well-written fantasy. They gain
external knowledge, and through body language and internal dialog learn how
characters feel.

For example, consider a squire character involved in a training tournament.
Readers learn the character's riding technique. They know what he's thinking as
he approaches the target. Is he confident or fearful that he will fail before a love
interest sitting in the stands? If the squire's lance hits the target dead on, it falls
over, but if he hits it off center, the target spins around and smacks him on the
back. Readers understand the rules and feel the muscular steed beneath them. If
bystanders mock, the reader feels the humiliation.

Fantasy writers strive for readers to know what the objective is and how the
character feels. The character and reader become one. They know who's
watching and what it means.
Knight-like Fantasy Characters
Fantasy writers learn to carry over the magic of the chivalrous past. Knighthood
carried a sense of honor and could be forfeited if the knight broke his vows. Why
or how a knight-like character would break his vows would of course depend on
the plot and how the fantasy writer wants their character to grow. A knight without
honor was regarded as a knight dead.

In the movie The Natural a young gifted ball player played by Robert Redford has
the opportunity to fulfill his boyhood dream of playing major league ball. He
leaves for the big city with promises of marriage to the girl he leaves behind. This
knight-like character breaks his vow after being shot by a mysterious woman. His
code of conduct must be proven sixteen years later when he reemerges into the
baseball scene and into the life of the woman he had promised to marry.

The chivalry of knighthood historically wasn't romantic or the exciting lives we
read about in fantasy today, but that is the adventure of fantasy writing. As
writers, we pick up the gauntlet and run with it. Where it takes us stretches the
imagination and brings the reader along for the ride.
















How To Dress A Victorian Lady
When writing a Victorian era fantasy novel, even though it's fantasy, you'll want
your world and characters to represent the period with accuracy. Even if you
loosely develop a fantasy world based on the Victorian period, the information in
this article will help dress characters in Victorian style apparel with enough detail
to make it real in the reader's mind.

In this article we'll study the clothing of a Victorian Lady. Lady was the proper title
of any woman whose husband ranked higher than baronet or knight, or who was
the daughter of a nobleman not lower than an earl. A Lady's affluent lifestyle
followed fashion. With that in mind, this article takes a look at how to dress a
fantasy character based on historical dress.

Details down to underwear reflect a Victorian character's placement in time. In
the first half of the nineteenth century undergarments served a utilitarian function.
At that time, underwear lacked trimmings and decoration. But in the second half
of the century, frills like lace and embroidery came into style. When dressing or
undressing your character, keep details period specific.


Basic Victorian Undergarments
Chemise: a loose-fitting, white linen shirt-like undergarment designed to hang
straight from the shoulders, fit loosely at the waist, sometimes more tightly at the
hip and reached to the calf. You'll want to research neckline shapes and other
small alterations for the timeframe of your story.
Drawers: an undergarment that covers the lower part of the body with legs
reaching to the knees. Legs of this garment were sewn separately leaving the
crotch open. Drawstring casings gathered at the back above a loose-fitting seat.
This loose fit design prevented the open seam from separating. Again,
depending on the exact time frame, you'll want to research whether the legs to
the drawers for your character should be flared or wide, or gathered at the knee.
Corset: a close-fitting undergarment, stiffened with whalebone or similar
material and often tightened by lacing. It fit tight around the trunk of the body.
Women wore this garment to shape and support the body. It was worn over or
under the petticoat.
Petticoat:(most often made in one piece with the bodice attached) Commonly
made of flannel, this garment worked as a slip or underskirt worn for warmth and
to hide the contour of a woman's legs. Often a decorative petticoat was full and
trimmed with ruffles or lace. Three Petticoats were usually the minimum worn.
Stiffened petticoat, crinoline or bustle: Several petticoats were worn to
support the bell shape skirt (before the cage crinoline in the 1850's). Early
petticoats were starched and corded (cords ran through them to hold the hem
out). Petticoats changed with fashion. As you design your character's wardrobe,
consider the decade you want to target within the Victorian era. Do some
research. Should your character be wearing a narrow paneled skirt or a wide bell
skirt? Bustles came and went. Be sure to check if it is appropriate to add a bustle
to your character's fashion sense.
Decorative petticoat: Depending on the year, decorative petticoats included
things like flounces down the back, popular colors like scarlet or added
decoration at the hem that showed below the hem of the dress.
Stockings
It's worth noting that during Victorian times, a Lady never referred to her legs.
Petticoats and other undergarments were worn to hide the shape of a woman's
legs. Does your Lady wear stockings gathered at the knee? What kind of garter
holds her stockings in place? Are they made from rich silk fabrics with woven
patterns or embroidered motifs? Or are they plain, ribbed, or fancy knit
stockings?
Garters: An article of clothing used to hold up stockings-garters evolved over
time so be sure to dress your fantasy character appropriately. The first garters
tied around the leg, the next garters slipped onto the leg, and then elastic garters
were invented. By the end of the century, a strap sewn to the bottom of the
corset worked like a suspender to secure the stockings. What garter is
appropriate for your character's period?
Other Underwear
Crinolines: A skirt made of coarse stiff fabric like cotton or horsehair worn
over the petticoat and then covered by a decorative petticoat
Bustles: A pad, cushion, or framework worn under the back of a woman's skirt
to expand, support, and display the full cut and drape of a dress. It was worn
over the petticoat and then covered by a decorative petticoat.
Corset covers: Protected the dress and corset from perspiration. This
garment originated as the separate bodice for the petticoat. This waist length
garment opened at the front.
The Victorian Skirt or Dress
Victorian Ladies were women of fashion. Over the basic dress, they wore a
variety of matching draperies and overskirts which fell in graceful folds to
embellish the dress. The basic dress sometimes came in two pieces, a matching
bodice and skirt. Other dresses were sewn as a single garment with a fitted seam
at the waist. Another popular fashion used consistently in writing fantasy is the
one-piece princess dress with no waist seam. Dress style varied with fashion.

Dress Accessories Ladies made a fashion statement by completing their look
with matching accessories. Other items you'll want to add and research include
collars, under-sleeves and cuffs.

Matching capes and jackets added a bit of flare to the basic dress. Sometimes
these matching capes and jackets were made to be worn indoors. Other outwear
includes things like cloaks, shawls and mantles.

Shoes and Boots Shoe fashion for indoors included flat slippers in the first half
of the nineteenth century. For outdoors, Ladies wore short boots with flat heels.
During the second half of the century footwear developed heels and boots
became taller.

Head Coverings
Caps: In the early Victorian period, caps were worn indoors by married and
older Ladies.
Decorative hair-nets
Bonnets: Worn outdoors over indoor caps.
Hats: Stylish hats were worn without the indoor cap. Other Victorian
Accessories To complete your character's wardrobe you'll add other Victorian
Accessories. The following list will aid in your research to complete the look:

Gloves, flat purses, walking stick parasols, pleated folding fans, jewelry and
more.

Now that you have the basics to get started, visit sites like the Victorian Fashion
Timeline for more information.



















How to Build a Magic System
By Guest Author Joan McNulty-Pulver
So you are writing a fantasy novel, and it needs mystical magic. Have you
decided on the rules? Why does magic have to have rules? Just think about
today's technology. When you want to turn on your computer, you have to push
the power button. If you don't, it won't turn on. That is a rule of technology.

Magic works the same way. If you want a spell to work, it must be said in a
precise way or it may backfire or fizzle out. If a character is scrying, they need
something to scry into, i.e. water, fire, a mirror, etc. Rules of magic have to work
consistently throughout your world.

I am a big fan of the Dragon Lance Series by fantasy authors Margaret Weis and
Tracy Hickman. In one of the early books, Raistlin owns a magical time travel
device - it always finds it way back to its owner. Many books and two wars later,
Fizban, also know as the God Paladine, gives one of the devices to Tas to travel
back in time and speak at Caramon's funeral. Tas gets arrested and the device
confiscated. While on his way to be incarcerated, he reaches into his pouch to
find the device restored to his possession. Magic works when fantasy writers
stick to the same rules even when applied to scenes and circumstances many
books apart.


How to Start
First decide what type of magic system your fantasy world will have. Will it be
simple or very complex? The more complex your system, the more rules will
apply. Rules for one gadget or tool may not be the same for another. Although
the time travel device always returned to its owner that does not mean all
magical devices have to go back to the character who owns them. An enchanted
stone could be stolen and never returned or a talisman could be lost and become
the object of the quest in your book. For magic that works and makes sense to
the reader, stay consistent throughout your book, trilogy, or series.


Simple and Complex Magic Systems
An example of a simple magic system is one that has a minimal amount of
magic, such as scrying, a few spells, herbal remedies, and maybe a few curses,
etc. Simple magical realms need the least amount of rules not only to figure out
but also to remember as the story expands. More complex magic systems, such
as in the Dragon Lance series or Harry Potter need more rules.

The following list of things to consider when creating magical systems for a
fantasy world is not complete, but intended to generate a basic set of rules:


When your characters use magic, what kind of effects should be available and
how easily?
Do you want magic users to dominate the world? Or can only certain types of
persons perform magic on a limited scale.
Is your goal a simple or many-layered/complex system?
Where does the power to perform magic come from?
Who can use the power? (In the book I am currently writing everyone can
mindspeak but not everyone can perform magic.)
Will you use the terms Wizards, Sorcerers, Witches, Sorceresses, Magicians,
etc? If so, will there be a difference or unique twist to their abilities in your book?
Will your fantasy world have mythical creatures? Will they be able to perform
magic or will that power be wielded only by humanoids?
How much power will they have or are there different levels? Can your fantasy
character work to achieve a higher level? Once you answer the above questions,
you will be on your way to building your mystical magic system. I am sure these
questions will spur thought provoking ideas and more questions to answer. Each
answer brings you to another question, but don't get bogged down with
unnecessary details after you have what you need.


About the Author
Joan McNulty Pulver, mother of five and grandmother of five, works as an
Administrative Secretary for the State of Florida but considers writing and editing
to be her vocation. She is a facilitator at Writers' Village University and the
Personnel Coordinator/Editor for ePress-online. Joan's published works include
fictional short stories, several articles and true-life stories. She is currently
working on a non-fiction book and a fantasy novel.









Costume, Combat and Culture in Make Believe Worlds
By Teel James Glenn
Fantasy worlds work when constructed on solid internal logic. A great deal of thought is
often given to the political and religious structures of the world being created while the
clothing and weapons are pasted into the picture like old Colorforms . Far too often the
clothing, how and why it is worn, is all but ignored.
Clothing styles, however, happen for a reasonsometimes specious, sometimes political,
and sometimes religious.
Edgar Rice Burroughs actually did quite a bit of research for his Indian stories before he
distorted the information for his other fantasy worlds.
J.R.R. Tolkien of course, did copious research in Anglo-Saxon, Norse, German cultures
to make his Middle Earth real. And Robert E. Howard was something of an expert in
Celtic, German and Arabic cultures and used his historical research to weave a very real
Hyborean age for his Conan to conquer.
So, by way of starting you on that journey across your own fantasy worlds here are a few
extremes and oddities of costuming from this, our own weird world to use as templates
for your own world to work from.
Fabrics and Colors

Even the color of clothing can have major meaning in the real world beyond family
color-coding; it can be dictated by political or religious authorities! We all know that
Royal Blue is a color, but it actually was legally claimed as the color of kings and the
exclusive right of that nobility at one point. Centuries before the color purple produced
from Phoenician dyes developed into the royal color of Rome.
Most think of the Scottish Kilt as just romantic and barbarous garb. In fact the twelve
yards of fabric of the old great kilt functioned as armor (just try to cut through that much
wool), sleeping bag/tent and camouflage net. The old patterns of the plaids were actually
perfect camouflage for the regions they were woven in. Incidentally the specific clan
tartans were not Scottishthey couldnt have cared less they wore what ever was
convenient. The codified clan/plaid system was devised by an Englishman in the eighteen
hundreds based on old prints and was totally arbitrary.
Silk is not just an elegant fiber; spun from the cocoons of worms; it is hypo allergenic
and terribly strong. The Mongols, fierce nomads from the deserts of the East recognized
both of these properties and wore shirts of silk under their felt jackets. Should an arrow
strike them and penetrate the jackets it would push the shirt into the wound. To remove
the arrow all the world conquerors had to do was gently pull the fabric of the shirt out and
the arrow point would come with it.
The same cannot be said for cotton fibers driven by sword points into wounds. Often
these fibers would stay in the wound and lead to infection, festering when undetected.
This is why may duels in Regency England were often fought with the combatants striped
to the waist.
Practicalities
That combat practicalities pervade all cultures at almost all times is a truism. Even
stubborn boneheaded warriors like the crusaders could have learned from their enemies.
Originally the European knights of the tenth century marched willy-nilly into Palestine
wearing chain mail coats and gambesons, which were fine for cold damp Europe, but
they died in droves from heat exhaustion and dehydration trekking across the deserts of
the Holy Land.
When the Crusaders first encountered the Saracens they thought that they were
unarmored. They soon discovered their mistake; the Muslim warriors were just smart
enough to wear light colored cloth robes over their armor to fight off the desert sun. The
Crusaders soon adopted this idea (along with, thank God, soap) that became the tabards
we so often associate with medieval knights. They took to displaying symbols on their
tabards to match their shield symbols and heraldry became the thing.
Practicality in clothing is not just the providence of the medieval; the fur trappers of our
own Northwest wore the fringe on their buckskin shirts as more than decoration. They
left the extra skin when sewing the clothes and slit them into the fringe to have lashings
available. Just reach up and pluck one when you needed to fasten something.
Speaking of fastenings, have you ever wondered why mens clothes button left over right
and womens the other way?
In the late sixteen hundreds dueling was all the rage in France; young gentlemen began to
slaughter one another at an appalling rate. However, it was darned inconvenient to have
to stop the blood letting to remove one's jacket. It was discovered that a right-handed man
(and most are right handed) could loosen enough buttons with his left hand quickly
enough to facilitate the annihilation while holding his sword pointed at an enemy. So the
buttons became fixed.
It was also around this time that a general, seeing soldiers wipe their noses on the sleeves
of their military tunics ordered buttons sewn on the sleeves to stop the practice; hence
sleeves on mens suit jackets and a thriving handkerchief industry.

Frances Louis the XIV also gave us cowboy bootswell indirectly. Seems the Sun
King, who loved to dance, was particularly proud of his calves and liked to show them
off. So he wore clam diggers (well, calf length pants that looked like modern clam
diggers) and high heels shoes.
And what the King did everyone copied; breeches became the standard for nobility and
that filtered to all levels of society. Heels in general became higher for mens shoes and
boots.
So if you guys ever wan to feel like the king of France put on some clam diggers and
cowboy boots and tell everyone to bow to yousee how fast you end up in the psych
ward.

Religious Influence
Some clothing styles seem, at first, to be the product of the psych ward
The Burkha, the black head and foot body bag that women are forced to wear in ultra
orthodox Muslim society is a perfect example of nonsense clothing. Not to say it does not
serve a purposein this case to reduce women to less than human by robbing them of
individuality. As a garment that allows one to function as a useful human being it is
absurd.
The religious will tell you it is to protect men from temptation and honor women by
preserving their female purity for their husbands sight. A realist will tell you it is
because the men fear the womens power and their own weakness.
The Burkha is not an ancient garment however, though the thinking behind it may be
Neanderthal, it was created in Afghanistan in 1973 by the Taliban and its wearing
enforced on the penalty of death. So odd or strange clothing you might want to impose in
your world need only have a religious reason and you can throw most logic out the
window.
Absurd but Politically Practical
Other absurd clothing has been motivated by politically practical purposes--the Japanese
court of the eighteenth and nineteenth century wore twenty-foot long kimono robes with
very long sleeves. This necessitated crawling around like a toddler in daddys coat and
made on the spot fights impossible. Who could throw a punch or kick while buried in
yards and yards of silk?
Nothing occurs in a vacuum and this scientific truth carries over to any created reality; in
the final analysis, all literary worlds are fantasy and contain only those facts that we state
or imply. In any story set in the world we live in whether in the past or future, a
millennium of implied' realities exist including cultural nuances and reasonings that
create the world for our reader.
In a world we build wholly for our other-worldly characters to inhabit, we must do quite a
bit more actual 'stating' to build an entire hidden world of the 'implied' and 'inferred' to
make it real.
Get out the mortar, cause world building truly is a brick at a time thing
Costume, Combat and Culture Part 1
By Guest Author Teel James Glenn

When constructing fantasy worlds on solid internal logic, a great deal of thought
is often given to the political and religious structures of the world being created
while the clothing and weapons are pasted into the picture like old Colorforms .
Far too often the clothing, how and why it is worn, is all but ignored.

Clothing styles, however, happen for a reason-sometimes specious, sometimes
political, and sometimes religious.

Edgar Rice Burroughs actually did quite a bit of research for his Indian stories
before he distorted the information for his other fantasy worlds.

J.R.R. Tolkien of course, did copious research in Anglo-Saxon, Norse, German
cultures to make his Middle Earth real. And Robert E. Howard was something of
an expert in Celtic, German and Arabic cultures and used his historical research
to weave a very real Hyborean age for his Conan to conquer.


Extremes and Oddities of Costuming
So, by way of starting you on that journey across your own fantasy worlds here
are a few extremes and oddities of costuming from this, our own weird world to
use as templates for your own world to work from.

Even the color of clothing can have major meaning in the real world beyond
family color-coding; it can be dictated by political or religious authorities! We all
know that Royal Blue is a color, but it actually was legally claimed as the color of
kings and the exclusive right of that nobility at one point. Centuries before the
color purple produced from Phoenician dyes developed into the royal color of
Rome.


Romantic and Barbarous Garb
Most think of the Scottish Kilt as just romantic and barbarous garb. In fact the
twelve yards of fabric of the old great kilt functioned as armor (just try to cut
through that much wool), sleeping bag/tent and camouflage net. The old patterns
of the plaids were actually perfect camouflage for the regions they were woven
in. Incidentally the specific clan tartans were not Scottish--they couldn't have
cared less. They wore what ever was convenient. The codified clan/plaid system
was devised by an Englishman in the eighteen hundreds based on old prints and
was totally arbitrary.

Silk is not just an elegant fiber; spun from the cocoons of worms; it is hypo
allergenic and terribly strong. The Mongols, fierce nomads from the deserts of
the East recognized both of these properties and wore shirts of silk under their
felt jackets. Should an arrow strike them and penetrate the jackets it would push
the shirt into the wound. To remove the arrow all the world conquerors had to do
was gently pull the fabric of the shirt out and the arrow point would come with it.

The same cannot be said for cotton fibers driven by sword points into wounds.
Often these fibers would stay in the wound and lead to infection, festering when
undetected. This is why may duels in Regency England were often fought with
the combatants stripped to the waist.


Combat Practicalities
That combat practicalities pervade all cultures at almost all times is a truism.
Even stubborn boneheaded warriors like the crusaders could have learned from
their enemies. Originally the European knights of the tenth century marched willy-
nilly into Palestine wearing chain mail coats and gambesons, which were fine for
cold damp Europe, but they died in droves from heat exhaustion and dehydration
trekking across the deserts of the Holy Land.

When the Crusaders first encountered the Saracens they thought that they were
unarmored. They soon discovered their mistake; the Muslim warriors were just
smart enough to wear light colored cloth robes over their armor to fight off the
desert sun. The Crusaders soon adopted this idea (along with, thank God, soap)
that became the tabards we so often associate with medieval knights. They took
to displaying symbols on their tabards to match their shield symbols and heraldry
became the thing.




Costume, Combat and Culture
Part 2 By Guest Author Teel James Glenn

Practicality in clothing is not just the providence of the medieval; the fur trappers
of our own Northwest wore the fringe on their buckskin shirts as more than
decoration. They left the extra skin when sewing the clothes and slit them into the
fringe to have lashings available. Just reach up and pluck one when you needed
to fasten something.

Speaking of fastenings, have you ever wondered why men's clothes button left
over right and women's the other way?

In the late sixteen hundreds dueling was all the rage in France; young gentlemen
began to slaughter one another at an appalling rate. However, it was darned
inconvenient to have to stop the blood letting to remove one's jacket. It was
discovered that a right-handed man (and most are right handed) could loosen
enough buttons with his left hand quickly enough to facilitate the annihilation
while holding his sword pointed at an enemy. So the buttons became fixed.

It was also around this time that a general, seeing soldiers wipe their noses on
the sleeves of their military tunics ordered buttons sewn on the sleeves to stop
the practice; hence sleeves on men's suit jackets and a thriving handkerchief
industry.

France's Louis the XIV also gave us cowboy boots-well indirectly. Seems the Sun
King, who loved to dance, was particularly proud of his calves and liked to show
them off. So he wore clam diggers (well, calf length pants that looked like modern
clam diggers) and high heels shoes.

And what the King did everyone copied; breeches became the standard for
nobility and that filtered to all levels of society. Heels in general became higher
for men's shoes and boots.

So if you guys ever wan to feel like the king of France put on some clam diggers
and cowboy boots and tell everyone to bow to you-see how fast you end up in
the psych ward.

Some clothing styles seem, at first, to be the product of the psych ward--




Reasons Behind Absurd Clothing Styles
The Burkha, the black head and foot body bag that women are forced to wear in
ultra orthodox Muslim society is a perfect example of nonsense clothing. Not to
say it does not serve a purpose-in this case to reduce women to less than human
by robbing them of individuality. As a garment that allows one to function as a
useful human being it is absurd.

The religious will tell you it is to protect men from temptation and 'honor' women
by preserving their female purity for their husband's sight. A realist will tell you it
is because the men fear the women's power and their own weakness.

The Burkha is not an ancient garment however, though the thinking behind it may
be Neanderthal, it was created in Afghanistan in 1973 by the Taliban and its
wearing enforced on the penalty of death. So odd or strange clothing you might
want to impose in your world need only have a religious reason and you can
throw most logic out the window.

Other absurd clothing has been motivated by politically practical purposes--the
Japanese court of the eighteenth and nineteenth century wore twenty-foot long
kimono robes with very long sleeves. This necessitated crawling around like a
toddler in daddy's coat and made on the spot fights impossible. Who could throw
a punch or kick while buried in yards and yards of silk?


Cultural Nuances and Reasonings
Nothing occurs in a vacuum and this scientific truth carries over to any created
reality; in the final analysis, all literary worlds are fantasy and contain only those
facts that we state or imply. In any story set in the world we live in whether in the
past or future, a millennium of 'implied' realities exist including cultural nuances
and reasonings that create the world for our reader.

In a world we build wholly for our other-worldly characters to inhabit, we must do
quite a bit more actual 'stating' to build an entire hidden world of the 'implied' and
'inferred' to make it real.

Get out the mortar, cause world building truly is a brick at a time thing.


Guest Author Bio:
Teel James Glenn, a native of Brooklyn, is the author of five published novels,
Poetry and a book on how to write fight scenes for writers. He has written articles
on theater, and swashbuckling related subject s and sold short stories to: MAD,
Fantasy Tales, Afterburns, Anotherrealm, Blazing Adventures and other
magazines. He has taught stage combat at colleges and choreographed fake
violence for over 20 years for plays, Renaissance Festivals, films and New York
soap operas (where he frequently appears as an actor). Follow his further
adventures at www.teeljamesglenn.com







































Preparing For The Fantasy Wedding -
Part 1
Fantasy writing includes historical customs and traditions that offer flavor and
distinctiveness to a novel's world and plot. History overflows with wedding
customs that by today's ideology stand out as peculiar. Including such practices
in your writing develops an element of fantastic realism. For instance, if your
character plucks their hairline to create a higher forehead to be attractive for their
wedding, the detail makes for a peculiar tradition but it's really a historical
practice from medieval times.

Some historical wedding customs by today's standards would be considered
strange and others are a clear variation of modern traditions which tie the reader
to the story. Research customs and traditions and alter the practices to fit your
developing fantasy world. Unique customs translate into believable practices
creating depth to the scenes as well as invitations to plot twists leading up to and
including the wedding.

One fact to make note as you plan your novel's wedding is that historically
grooms were much older than their brides. Most women were married by age 19.
Plus marriages among nobles were arranged. Many times the bride and groom
didn't meet until days before the wedding. These types of relationships overflow
with possible plot threads.


Hair
Brides of any era want their hair to be perfect for the big day. But what does that
mean in your fantasy culture. Historically, because blond hair was admired many
women coveted lighter hair for their wedding day. Of course back then, it took a
lot more work to get the desired result. The process of sun bleaching took time.
Other lightening process included doses of henna or concoctions made from
animal innards.

Style is another matter to consider. Most hairstyles during medieval times
consisted of the hair being braided and up rather than hanging loose. The
wedding day was one of the few times a woman wore her hair unfastened,
flowing with loose curls. Instead of a veil, brides wore a wreath of herbs and
flowers. In fantasy, herbs and flowers can also hold magical properties. Do they
wear a single ringlet, or do they weave the flowers into a braid circling the crown
of her head? Something more to consider as you construct the bridal crown:
where do servants or others have to travel to get the flowers or herbs and what
do they offer the bride? Is it risky? What is the significance?

As I mentioned in the opening of this article, plucking the hairline was another
medieval custom. Brides desired a high forehead, which at the time was the
coveted look. Bringing an unusual custom like this into your story sets your world
apart. Creating a female character with a high forehead would show the reader
that the woman cares about how she looks and wants to be desireable.


Bathing
Do the customs in your fantasy world support a ritual bathing of the bride? Does
it include your bride and groom bathing together? Perhaps it's part of the
wedding ceremony. If so where does it take place? Public baths? If public baths
exist, are characters usually separated by sex except for the bridal bath? Or does
everyone bathe together on a regular basis?

What about the wood needed to heat the water? Is there enough? If forests
become depleted will taking a bath be expensive? Historically, by the mid-1300s,
firewood to heat water became a luxury for the very wealthy. Lack of firewood
forced the general population to walk around dirty most of the time.

Something you may or may not want to include in the bathing ritual is religion.
How do religious leaders feel about bathing? Do they oversee the wedding ritual?
Or are they not involved. Creating rules based on religion creates a unique world.
For example, in medieval times it was against the rules to look at your body while
bathing. If you incorporate such a rule and it is broken, what is the penalty?
Rules like this work to create tension within the plot.

Another superstition that caused people not to bathe was fear that water carried
disease into the body through the skin. These "medical reasons" forced people to
wipe dirt off without bathing and to use perfume. People still bathed but
infrequently. The perfumes came from the oils of flowers combined with spices.
Trade for such ingredients can be worked into the plot as improved trade
strengthens a kingdom. Trade routes open opportunities for story lines. For
example, if a cargo of special "wedding" ingredients is high-jacked to prevent a
marriage from taking place it draws lines of conflict.

Taking historical facts as a foundation opens the door to unending possibilities.
Does a perfume hold a magical quality that causes infatuation rather than distain
as a marriage relationship thrusts two strangers together? Does one of them
already love another? Yes, marriage unions provide an avalanche of details that
thread throughout the storyline.

In part two of this article we'll take a closer look at the wedding setting), and in
part 3 we'll see what it takes to feed the guests.
Preparing For the Fantasy Wedding -
Part 2
In part two of this article, we'll pull from historical settings to find interesting plot
alternatives when creating a wedding scene based on medieval times. What
better place to hold a fantasy wedding than a castle or a rustic country setting?
Even though marriage fell under the church's purview, historically it allowed
weddings to be held within the castle's great hall or in one of the courtyards.


Who To Invite To a Castle Wedding
Remember a caste system existed in medieval times. Arranged marriages
strengthened manors and kingdoms through political ties. When developing
characters realize that the wedding day included an incredible celebration. Side
or window characters to place within the scene include minstrels, jugglers and
other entertainers.

Inhabitants of the manor also attended the celebration. Nobles from other
manors and distant relatives were also invited. Bringing all these characters
together in one place offers a myriad of possibilities to develop conflict within the
plot.

Interesting ideas for plot threads includes historical practices like the lord of the
castle freeing prisoners to mark the occasion. As unrealistic as this seems,
historically it happened. These types of practices open the door to include the
freeing of the man the bride truly loves as she is forced to marry a man because
of arrangements made the day she was born. Or perhaps she marries only to
free the man she loves.

Other interesting characters to include are the poor. Beggars gathered at the
gates can feast on leftover food. It's a great place to disguise a protagonist with
other plans.


Who to Invite to a Country Wedding
Do your characters love each other, or is their marriage prearranged? Marriage
among peasants had more chance to involve love, but pregnancy often prompted
weddings among lower classes. However, even among the peasants caste,
marriage arrangements were often matters of business. An arranged marriage
between peasant characters offers as many plot possibilities as marriages
among the nobles.

Betrothal ceremonies were held at the bride's home where the village
congregated to celebrate and give the couple practical wooden utensils or other
tools as gifts.

When planning a fantasy wedding that involves characters from poor families
again look to historical fact to create an interesting setting. Things like a wedding
ring often could not be afforded in poorer families. One wedding tradition
included giving a half of a broken coin to the bride and the other half to the
groom. The unique break matches the two halves marking a one of a kind love
united in marriage.

Much like the more modern custom of showering the bride and groom with rice or
bird seed, villagers showered newlyweds with seeds or grains of wheat to wish
them a large family.

Another historical aspect to prearranged marriages to incorporate in a plot or
story line is that either the bride or the groom is an outsider. Grooms from
another locale traditionally bought a round of drinks at the local pub for the
village's young men. The reasoning behind this was that he "robbed" them of a
possible wife.

Now that you have the guest list in place, part 3 of this article provides details to
feed the guests.




















Preparing for The Fantasy Wedding -
Part 3
Feeding the Guests
Medieval history provides plenty of rich detail for fantasy novelists planning the
menu for a wedding (or any other feast). Barbaric by today's standards, etiquette
at a medieval feast allowed eating with fingers, though forks and a knife were
sometimes used. Napkins became popular during this era, so you can include
them. Remember that, many who lived during these times were lucky to have
enough to eat on a regular basis. Starvation was a real part of life and this fact
may reflect in your character's table manners.

Traditionally, the wedding feast took place the same day as the wedding. Guests
ate from wooden plates until the food was gone. Glassware may be constructed
of precious metals, common clay or wood depending on social class. The
Medieval Wedding Guide by Vanessa Hand offers specifics if you need a source
for more details.


The Menu
Wedding feast particulars should fit the celebration based on social class. Every
social class celebrated weddings. It wasn't uncommon for these elaborate feasts
to serve up to six courses. Basics your characters would find on the menu
include:


Roast quail
Turtledoves and partridge
Goose
Venison
Roasted boar (sanglier) Dangerous to hunt, wild boars have long sharp tusks
and teeth. Yet, huntsmen scoured the forests using apple cores, rotten meat and
peapods as bait. Your characters might even find them feeding on garbage
dumped outside the village or castle. Smoking wild pig preserved the meat.
Gilded and slivered calves' heads
Fish Most fishing was done with nets made by spinning grasses, wool or flax.
Contrary to what many would think the job of spinning to make fishing (or
hunting) nets was man's work. Once they had the thread-like fabric spun, they
knotted it into complex patterns and attached bits of stone, clay or led as weights.
For fishing nets they attached a piece of wood which floated so they could spot
their submerged nets. Fish were often preserved by pickling in a salty brine or a
fermented sauce called garum which was prized by the ancients.
Roasted peacock
Mutton
Cheeses Because milk spoiled without refrigeration, people learned to make
yogurt and cheeses. Aged cheeses can be kept without refrigeration for five
years or more. Most aged cheese was made using rennet (a piece of the
stomach lining from a cow).
Walnuts
Oysters steamed in almond milk Because animal milk spoiled, Medieval cooks
depended on the milky liquid created by grinding almonds or walnuts and
steeping the pulp in boiling water for five minutes before running the mixture
through a sieve to remove coarse particles. Cooks prepared almond milk fresh as
needed or could store it without danger of spoiling like animal milk.
Ale-flavored bread
Stewed cabbage
Tarts and custards
Spicy mulled wine.
Fruit Dried fruit included raisins, prunes, and dried apples. Without
refrigeration, little food could be preserved. Apples were the only cultivated fruit.
Depending on the climate of your fantasy world, characters can also collect wild
fruits like pears, quinces, and even peaches. Strawberries raspberries and red
currants could be found in the woods. Exotic foods like dates and pistachio nuts
should only be found on tables set for the wealthy.
Fresh fruit preserves
Wine, Ale, and other Medieval Drinks Drinks included water, ale, beer, mead,
milk, and wine. Within castle confines a well provided potable drinking water.
Fruit juices made from cherries, sloes (a plum-like fruit), and mulberries present
other possible fermented choices.


What About Vegetables?
Few vegetables were eaten during medieval times, but vegetables of this period
include: carrots, cabbage, lettuce, leeks, cardoons, onions, shallots, parsley and
asparagus.

Unlike the variety of salads we experience today, a Medieval Sallat might consist
of scallions, chives, radish roots, turnips, boiled carrots, young lettuce, herbs,
nuts, olives, and vinegar and oil.

Spices and Flavorings If you show your cooks slaving in the kitchen, keep the
spices and flavorings period specific. Include: Cloves, cinnamon, saffron, mace,
pepper, ginger, anise, nutmeg, basil, parsley, sage, tansy, savory, betony, and
rosemary.


What About Sugar?
Honey was a popular sweetener and preservative usually supplied by the local
monastery. Sugar became increasingly popular among the wealthy. They were
the only ones who could afford it in large quantities.




































Fantasy Novels
How to Edit
Once your epic manuscript is penned, leave the novel to age for a few weeks, or
months. Then take the time to polish your work before pursuing publishers. This
isn't the signal to panic, but to take a deep breath and spend time self-editing
your story. Even more than when you are writing, while self editing, you will need
a Do Not Disturb sign. (A lesson learnt from experience.)

Outline the plot. In contemporary Fantasy the basic plot Arc is when your main
character, your Hero embarks, on his quest, gathers a troupe of companions,
faces antagonists, develops through conflict and prevails in a climax. All loose
ends are tied to the satisfaction of your reader in the denouement. Plot your story
keeping to these simple arc guidelines. For fiction writing in the fantasy genre
you will need to include some form of magic.

As you write each scene or chapter, include five instances where the plot is
propelled forward. Develop your Hero's character, the conflict, the rules
governing your magic, and/or the overall plot. If you find your fantasy scene does
not propel the story forward, consider omitting anything that deviates from the
plot. Use this simple plot devise to keep your fiction writing tight and your fantasy
reader captivated.

Grammar
While re reading, and self-editing have a list of things to look for to improve your
grammar and your writing. To target the mainstream publisher you must present
a polished manuscript. To help you achieve this, keep lists of 'words to avoid.'
Check and correct your grammar. Correct the overuse of adverbs, adjectives,
passive voice, telling not showing, cliches, repetitive words and phrases, and
altered POV.
Example List of Words to Avoid. Was, Were, Had, That, Still, Felt, Noticed,
Saw, Just, Nice, Thought, Up, and Down. Also, avoid cliched words like really,
beautiful, dark, almost, very, just and so.

Commas
In English the rules for grammar change from region to region. These differences
can cause a great deal of confusion. Once you have the English usage rules for
your region, or the region of the publisher and your prospective readers, apply
them throughout your writing.

Read Your Work Out Loud
Make every sentence flow. Print out your fantasy manuscript once you feel it is
polished and you have completed self editing. Everything looks different in print.
Go over your writing again on the computer. If possible, seek the help of other
readers and writers. Have them review your work and look for plot flaws or errors
in your grammar.

Compare these Examples.
'deposited roughly onto a rain-drenched beach, coarse sand abraded his
exposed flesh, and had coated every surface and filled every crevasse with grit.
He ignored the discomfort while struggling against each successive wave, to
drag his companion's inert body higher onto the storm battered beach. Coarse
sand dissolved beneath him as an undertow greedily tried to suck his heavy
burden back into the foamy tide. Against nature's fickle temper, he bravely held
ground. He dragged a mouthful of damp air into tortured lungs, and ground grit
filled teeth as he waited impatiently for the next incoming surge.'

Remove unnecessary adjectives, adverbs words ending in ly had, pronouns,
gerunds words ending in ing and try again.

'deposited on a rain-drenched beach, coarse sand abraded exposed flesh,
coated every surface and filled every crevasse. Ignoring his discomfort, he
struggled to drag his companion's body higher up the beach with each
successive wave. Sand dissolved beneath him as a greedy undertow reneged on
the ocean's bounty, trying to suck his burden back into the foamy tide. Against
nature's fickle temper, he held his ground, dragging air into tortured lungs.'

Again, cull every unnecessary word and simplify.

'deposited on a beach in driving rain, he ignored the discomfort of clinging sand.
With each successive wave, he lifted his companion's body higher onto the
beach. A greedy undertow dissolved the sand beneath him but he held ground
against nature's fickle temper. Dragging air into tortured lungs, he waited for the
next incoming surge.'






Examples of How To Improve Your Writing
While self-editing, think how the reader will view your work. Remember if you are
to become a famous author, every word counts. When presenting your fiction
writing to a publisher, (even more important if you plan to self publish), ensure
you follow these simple rules.
As you are self-editing your fiction writing, keep these tips in mind.

Capture the Reader's Interest. Stimulate Curiosity. Don't Tell Everything. Offer
Strong Images. Avoid Cliches. Involve the Reader. Keep it Simple. Omit Every
Word You Don't Need. Don't Say Things Twice.

Example One. Capture The Reader's Interest

Take this sentence:
'The view, from the spaceport orbiting Oram 18 in the outer reaches of the
Maddren Spiral, did not capture the interest of the Regency Baron or his
associates as they sat around a viewing pod.'

In fiction writing the fatal error here is when the Fantasy writer uses the words
'did not capture the interest . . .' Here the writer has immediately lost the interest
of their reader. They have indirectly told us that this is not interesting.

Compare the sentence when we change those words.
'The view from his private spaceport, orbiting Oram 18 in the outer reaches of the
Maddren Spiral, captured interest while his associates crowded a viewing pod.'

Offer Strong Images. Notice how the writer's of 'crowded,' rather than 'sat'
improves the strength of the sentence. When writing fiction or epic fantasy,
always use strong verbs and positive writing.

Example Two. Involve the Fantasy Reader.

Compare:
'The aroma of rich coffee, brought from Old Earth, aroused the senses of the
hero.'
With this example:
'As the hero inhaled preparing to speak, the aroma of rich coffee brought from
Old Earth aroused his stimulated senses.'
Here the fantasy writer has adopted limited character driven point of view, rather
than omniscient. This is one way to involve the reader. The reader is aware of
the character's impressions. We see through the character's eyes, we share the
character's feelings and emotions.

Example Three. Keep it Simple.

Compare this example:
'The hero signaled a drone to provide guests with a sample of the drink, before
he drew their attention to the latest news from Rampart 6.'

With this:
'The hero's signal prompted a drone to provide each guest with a sample of the
beverage. Only then did the baron draw attention to the latest news from
Rampart 6.'

Edit any sentence longer than 25 words. Take care of grammar. Make sure each
pronoun applies to the right subject. In the first sentence, which character drew
attention to the news? The baron or the drone?

Example Four. Avoid Cliches. Offer Strong images.

Compare:
'Above the hero, the sky turned black, lightning cut across the dark sky. As
sudden night dropped across the valley, the strange storm tore vegetation and
rubble from the earth.'

With this:
'Above the hero, lightning shredded sudden night, while an unnatural tempest
stripped vegetation and rubble from the earth.'

Omit unnecessary words. Provide stronger images. The writer does not need 'the
sky turned black', since 'sudden night' conveys the same image. Avoid cliches
like 'the sky turned black,' 'dark night' and 'dropped across the valley' are all
pretty cliched. The verbs cut, dropped and tore can be replaced by stronger
verbs.

Consider how the fantasy writer offers stronger images in the second sentence.
Things to Do.
Try to apply these rules to your own fantasy writing. Read the work of famous
authors, explore epic fiction writing titles and see how other writers use these tips
to keep their writing tight. Always keep a list of tips, hints and words to avoid,
close at hand. Add to it whenever you come across any way to improve your
fiction writing.

Example List of Words to Avoid.
Was, Were, Had, That, Still, Felt, Noticed, Saw, Just, Nice, Thought, Up, and
Down. Also, avoid vague words like Really, Beautiful, Dark, Almost, Very, Just
and So.











































Examples To Compare Utilizing
Editing Tips and Hints
Read this short extract. Look for any word from our List of Words To Avoid and
common errors to watch for. "The storm wasn't really natural was it? So, it was
Sorcery that saved us. Why does the smith deny using magic? Why then didn't
he save El'sbeth and little Joe?" Ethan said breathlessly. Cal thought the boy
looked anxious as he turned his attention back to spooning thick onion stew into
a cracked wooden bowl.

While he casually watched the boy, from out of the corner of his eye, he noticed
how the room smelt of garlic and rosemary. The smell of Eamon's cooking made
his stomach rumble. He was hungry.

Raul played his lute and he listened to the howling wind outside. He tightened a
fret and plucked a note that matched the fevered pitch of the storm, before
answering Ethan's query.

"You ask three questions." He stilled the strings and began to play a tune. "You
already know the answers but you need to accept them with your heart or you
will remain troubled."

"What?" Ethan asked curiously. "What do you mean?"

Compare with this: "The storm wasn't natural was it? Yet, I know Sorcery saved
us. Why does the smith deny using magic? Why didn't he save El'sbeth and little
Joe?" Ethan finished with a rush. Cal heard the boy's knuckles crack before his
attention focused on spooning thick stew into a wooden bowl.

While he watched the boy from the corner of his eye, the scent of garlic and
rosemary filled the room. The smell of Eamon's cooking reminded Cal he needed
food.

Raul strummed his lute and cocked his head as if he listened to the wind howling
outside. He tightened a fret and plucked a note that matched the fevered pitch of
the storm before answering Ethan's query.

"You ask three questions, Ethan." Raul stilled the strings and began to strum a
tune. "You already know the answers but you need to accept them with your
heart or you will remain troubled."

"What?" Ethan looked around and waved a dripping spoon in the air. "What do
you mean?"

Things To Do. Write a list of words you over use. Go over your latest writing and
'find' all the adverbs. Find any word ending in 'ly,' or 'ing.' Consider if they are
necessary. What about passive writing? Telling not showing. Rethink anywhere
you find 'thought,' 'saw,' 'felt' or even 'knew.' If you continue to watch for these
points as you right, editing becomes easier. Write a short scene from a
character's point of view. What can the hero see, smell, hear, taste, or touch?
Use all five senses as a guide to give your readers information. Don't add
anything your hero cannot 'know.' Remember these tips when you are editing.





































Editing Fantasy Novels
Avoid Cliches:
When editing fantasy, the grammar rules that govern all good prose apply.

One point to keep in mind for the fantasy genre, more than most others, is the
risk of cliche or colloquialism.

If you create a world of swords and sorcery, (in a fantastic setting,) using
contemporary slang and colloquialisms can jar your reader.

Create new terms to make your fantasy world unique and colourful. There are
sites online that generate names. The closing credits for foreign films can give
you an assortment of interesting names for fantasy characters and places.

When designing creatures, it isn't necessary to give your reader an in depth
knowledge of the creature's heritage, background or ecology. It is important
though, that you as the author, know exactly what makes the creature function.

If you use creatures from myth and legend, know the history behind them.
Although you are writing fiction, mainstream publishers, self publishing, or ebook
publishing you must avoid using creations straight from the pages of famous
authors.

Plagiarism is the illegal use of another author's ideas, plot, character or in
contemporary fantasy, creature. This is the reason copyright is so important. To
protect you and other writers from having their work stolen.
Editing and the Creation of Your Fantasy World
1)Ask yourself these questions regarding any new race, landscape, or species
you create.

2)If you must use characters from books or films you have enjoyed, adapt them
to your world.

3)How does your landscape effect each day on your world?

4)Consider your world's terrain, climate, hours in each day, number of moons,
length of season, flora and fauna.

5)If you create a species, how have they changed to live in the environment you
have designed?

6)How long do they live?

7)How do they find a mate? Are they egg laying or bare live young? How many?

8)How does the land support them?

9)Do they have predators, or are they prey? What adaptations have they
developed for hunting, or hiding?

10)Describe them, for your own reference. The way they move, eat, reproduce,
sleep, how any specific skills came about.
Even if you don't use all of this information while you write, knowing it will enrich
your descriptions of the characters/creatures. When you are self editing, ensure
the continuity of your descriptions.
With so much information to reference for an epic tale, it is important that you
don't tell your readers too much. Beware of explaining too much back-story or
information dumps. Often in epic Fantasy, it is necessary to give background
information. Try to avoid the temptation of relating this in large portions.
Remember: Keep it Simple. Introduce information in small doses.


























Grammar Tips for Editing Fantasy
Avoid: Felt, Noticed, Saw, and Thought.

We have discussed using POV to draw the reader into our Epic Fantasy. When
in limited character point of view, the writer is tempted to use these words.
Always view each scene as if you are looking through your character's eyes.
What can they see, how do they know how someone else is feeling? What
mannerisms, words, actions indicate emotion or unspoken information. Practice
this skill by observing people when you are in public. How much can you tell, of
what others are thinking, or feeling? Replace these words with observations, to
prevent 'telling not showing.'

For Example.
Rather than: 'He saw that the youth didn't understand.'

Try: 'The youth's eyes opened wide as he discarded the empty bowl and
scratched his temple.'

Rather than: 'The hero thought the boy was upset.'
Try: 'The boy surged to his feet and spun the chair beside the cabinet. He ground
his fist into his forehead and after a moment shook his head.'

Rather than: 'The hero felt the boy was accusing him.'
Try: 'The accusation in the boy's eyes worried the hero.'
Avoid: Prepositional Phrases.
'In the morning' 'Over the hill.'
Remember all things in moderation.
Avoid: The verb 'to be,' should be used with care.
'Be, are, was going, could be, would be, were going, had been. These words can
lead us toward passive writing and telling not showing.

Avoid: Down, up, almost, really, just, so, had, that.
Keep use of these to a minimum.
Keep notes handy to jog your memory. These are hints for Fantasy writing. While
famous authors of Fantasy fiction avoid passive voice, it is often used for essay
writing and other documents.
Things to Strive For in Your Prose
Master the use of verbs. Find strong verbs to replace weak ones. 'Sprinted'
rather than 'ran,' 'anticipated' rather than 'waited.' Make the Thesaurus your
friend but do not use new words until you are familiar with them. Check meaning
and usage in a dictionary to ensure correct grammar.
Place relevant information at the start of your paragraph and sentence. On the off
chance a reader is skimming your work, placing important information or actions
at the start of the paragraph, will keep them 'hooked.'
Keep your writing simple. Read your work aloud. As you read, strive to give your
words rhythm. If your sentences don't flow, consider altering them. Create a flow
and maintain it. Keep sentences to fewer than 25 words. Avoid run on sentences,
and use short sentences to dictate pace and action.
Practice Your Editing Skills
Read the work of famous authors, to see how they edit their fiction writing for
publication. Join a writer's forum and read other writer's work. It is often easier to
see errors in other people's writing than in your own.




























How To Edit Fantasy V
The Final Proofreading: Once the manuscript has been completed, reviewed
and re read by the author, it is time for the final proofread. At this stage, the
author should find time and space to work uninterrupted. A printed copy of the
manuscript can be useful for visual corrections and for reading aloud and
backwards.
Read for Point of View: The author should read each scene and determine if
the best point of view is used. It is not too late to improve a scene, draw the
reader in deeper, by changing the point of view. Remember to only use one point
of view for each scene, preferably each chapter.
Read for Descriptions: Is the reader shown how people are reacting rather than
being told? Look for the words that lead to telling and try to alter sentences that
do not give the reader insight into what is happening through action, expression
or dialogue. Remember to describe scenes and emotions using the senses. How
do things sound, smell, feel and appear.
Read for Flow: When reading aloud, correct and simplify any sentence that does
not flow, is ambiguous or does not add to the story. Now is the last chance to
remove redundant phrases, overused words, clichs or slang. Read aloud once
for flow. Read backwards for spelling and punctuation errors.
Read for Content: Read the manuscript for content. Now is the time to make
sure every sub plot, plot and plot device is used correctly and every puzzle
solved. Are there characters that do not achiever their goal? Can characters,
scenes or dialogue be omitted without losing the story? Simplify everything
possible in this edit.
Read for Continuity: The author can at this stage still change the order of
chapters, scenes and action sequences. Continuity is vital to keep the reader
hooked to the last page. At this stage, the author should double check for any
hints, foreshadowing, plot foundations. These must be in the right place.
If every read through can offer no chance for improvement then the manuscript is
ready to have a synopsis written and a query letter sent off to a publisher.








Magic Rules!
PART 1: Types of Magic--The Source Be With You
2006 by guest author P. June Diehl
The illusive art of magic governs, unites and even conquers fantastic fictional worlds
with enchanted powers. Fantasy authors must decide the types of magic allowed to work
within the created fantasy lands. What choices of magic do fantasy writers have to choose
from? And a second important question to ask when writing fantasy: What is the source
of your magical system?
Why is it important to understand the type of magic in the fantasy you create? Once you
identify the type of magic you wish to use, defining limitations and rules comes easier.
Knowing the source of the magical system helps focus on the mundane rules youll need
to understand how to create a believable fantasy world.
The following are examples of magical systems. Some overlap so one fantasy series
might include several of these types. This is not meant to be an all-inclusive list of the
different types of magic, but a starter to help focus on your magical system.
AURA MAGIC
The aura is the life force of all living things. The energy generated by this life force is
used to generate magic. One use of this life force created magic is any fantasy where the
source of the magic is from the charkas. The childrens classic, The Children of Green
Knowe, is an example of aura magic, or Jennifer Lynn Barnes, juvenile fiction, Golden.
BINDING MAGIC
This mysterious, mystical force binds all that exists in the universe, it works as the thread
that connects all things, living and otherwise. The Wheel of Time series by Robert Jordan
makes use of this concept.
CHAOS MAGIC
This is a modern form of ritual magic. The source of the magic is some mind alternating
technique: music, dance, chanting, drugs, etc. An example might be Alan Dean Fosters
Spellsinger series.
GOD/GODDESS-GIVEN MAGIC
The source of magic in this system is an advance being, whom mortals see as a god or
goddess. Remember: what is so readily given, can equally be taken away (and usually at
the worst possible moment in the plot). Harry Turtledoves The Case of the Toxic Spell
Dump has elements of magic, or power, given to humans by a deity.
GOOD VS. EVIL MAGIC
The source of this type of magic might be the same, but the outcome is juxtaposed, based
on the intent of the manipulator. The source of this magic is both outside and internal to
humans, or whatever type of character the magical user might be. Robert Goodkind make
use of this concept in his Sword of Truth series.
HERBAL MAGIC
This is inclusive of any ingredient-based magic, like the fairy dust used in Peter Pan. This
type of magic is also found in Sharon Shinns Summers at Castle Auburn, and Scent Of
Magic by Andre Norton.
MEDITATIVE MAGIC
Either meditation or concentration is used to create magic the mind over matter
concept. This can also manifest as an altered state of consciousness. A classic example is
Philip K. Dicks fantasy, The Cosmic Puppets.
NATURE-BASED MAGIC
Usually, this revolves around the four elements: earth, air, fire, and water. Elemental
magic can be found in the fantasy world of The Oran Trilogy by Midori Snyder or
Marion Zimmer Bradleys Mists of Avalon series.
POWER ELEMENTS
Magic exists in all things but some objects hold more magic than others. These magic
rich objects are considered magical artifacts. An example is the Winter of the World
series by Michael Scott Rohan.
RITUAL MAGIC
Magic is created through the act of performing a ritual. This may or may not be based on
a religion. In her Deryni series, Katherine Kurtz makes use of ritual magic.
SCIENCE-BASED MAGIC
The source is based in science, but must have a magical twist. For example: For every
action, there is an opposite and equal reaction. Give this law a twist: Every time magic is
used by an individual, the good produced as a result, also produces an evil side effect. L.
E. Modesitts The Magic of Recluce and The Towers of the Sunset exhibit science-based
magic.
SCIENCE INDUCED MAGIC
The premise here is that advanced technology is used by advanced beings, but appears to
be magic by others. Science fiction author Arthur C Clarkes Third Law states Any
sufficiently advanced technology is indistinguishable from magic. Out of This World,
the first of the Three Worlds Trilogy by Lawrence Watt-Evans, is an excellent example of
Clarkes Third Law.
SUPERNATURAL MAGIC
The results are the ability to read minds, telekinesis, being able to see across time or
space, etc. The source of this magic is the supernatural, that which is beyond what is
normally thought of as natural. In Katherine Kurtzs Deryni books, the magic is inborn
and presented as psychic in nature. Another example is the psionics in Marion Zimmer
Bradleys Darkover series.
SYMBOL MAGIC
In this magical system, symbols are used to represent more that they seem on the surface.
When used by a magic weaver, these symbols take on a physical quality. Any fantasy that
uses a system like Runes is an example of symbolic magic, such as the Death Gate Cycle
by Margaret Weiss and Tracy Hickman.
SYMPATHIC MAGIC
Voodoo is an example of sympathetic magic. The focus here is that what is done to an
object can be equally transferred to the person who once possessed that object, or by
knowing the magical name of an object, as in Ursula K. LeGuin's Wizards of Earthsea.
WE ARE ALL ONE MAGIC
This is based on the concept that we are aware of our unity with all the universe, we are
able to create magic by tapping into that unity. Robert Jordans magic system in his
Wheel of Time series is one example of this type of magic.
In some fantasy worlds, magic might be limited to either men or to women. Some
examples are the works of Melanie Rawn and Robert Jordan.
These types of magic can be combined to create your magical system. Human myth and
legends are full of magic. Beg, borrow, and steal make the magic your own to suit your
fantasy world. Pick and choose the elements that work for your fantasy world. Or, create
an altogether new magical type. The limit is your own imagination.





Magic Rules!
Part 2: Limitations of Magic At What Cost?
2006 by guest author P. June Diehl
Fiction is about conflict, and fantasy is no different. Magic cannot be an all-
powerful force, or there would be no conflict: If anything and everything is a
possibility, then nothing would be interesting in your fantasy world.
Im not talking about rules, at least not yet. Thats the subject of the third article in
this series. Setting limitations allows the author to focus on story elements:
tension, conflict, plot, etc., whereas, rules are part of a worldbuilding system.
Magic vs. Intelligence and Strength
While magic can be used to get the heroine or hero out of a sticky situation, its
not the only or always appropriate way out. The protagonist has intelligence,
strength, and other non-magical abilities to be called into use. Use those first.
Only use magic as an out when theres no other way.
On the other side of the mirror, we have the antagonist, who might appear to
have no limits to his or her magical power, but if that were true, our heroine or
hero would lose in the end. The editor or agent reading your manuscript would be
disappointed, and the author would not be offered a publishing contract.
Limitations of the Magical System
Any character who uses magic in a fantasy world has to deal with natural
limitations of that magical system. Magic is a wonderful force in a fantasy story,
but its also a dangerous force. This adds inherent conflict to the plot: not only is
the antagonist trying to stop the heroine or hero, but those who love and support
the protagonist might also not want her or him to use this dangerous power.
Magic can have limitations in other ways. Maybe it only works as desired 60% of
the time. Perhaps the outcome is predictable half of the time. Possibly the side
effects change over time.
Another aspect a fantasy author must remember is that if you take away the
magic, the protagonist and antagonist are people, with their own limitations and
flaws, their own strengths and salvations. Accent these and let magic play a
secondary part in your plot.
A characters current situation might also limit the use or outcome of his or her
magical power. What happens when the hero has a cold or the antagonist didnt
get a good nights sleep? How might this affect the ability to use magic
effectively?
Fantasy characters make mistakes including mistakes with magic. This adds
additional conflict and tension and shows the character dealing with an outcome
not intended or expected. Maybe the character has to deal with guilt as a result
of a mistake in using his or her magical power.
Develop Real Fantasy Characters
Fantasy characters are more than their magic. They feel, they think. They have
dreams and fears. Your characters need to be well rounded people, with aspects
of goodness and a pinch of the dark side. Focus on them as characters first, as
magic users second.
Anyone who uses magic in a fantasy world must keep in mind the limitations,
which make the story believable, and allow the author to develop tension and to
create conflict. Remember: no conflict no story.



























Magic Rules!
Part 3: The Art of Creating A Magical System
2006 by guest author P. June Diehl
Instead of another article about writing the rules of magic, lets look at how to
create rules for our magical system, what things you need to consider.
General areas to think about:
How might the source of the magic affect the rules youre looking to
create?
How will you work limitations into rules that work?
What are the side effects (the consequences) to the user of magic and
to others?
How will the magic of different users work with or against each other?
Can the magics cancel each other out? What, if any, side effect(s)
might this cause?
Is magic achieved through training or natural ability?
How does the culture respond to the use of magic and how does this
affect the user of magic? What is the place of magic in your world?
What are the magic users understanding of the mechanics of magical
powers? Are these views different from the reality of the situation?
From the view of the antagonist?
Consider the peoples that will make up your world. The more
nonhuman characters involved, the more magical interplay might be
acceptable.

NUGGET:
Any rule of magic that you create must exist for a purpose. Dont throw
something in because its cute, or something you thought about doing. All of your
magic rules must exist for a reason.

Assumptions about magic that can be found in normal (mundane) or in
fantasy worlds:

Magic might be difficult to use, achieve, or sustain.
Magic may be dangerous, not only to those it acts upon, but upon the
wielder.
Magic is evil. On the other hand, magic is good. Maybe it is neither,
but depends on the outcome achieved.
Magic might be rare, or magic might be commonplace.
Magic is unpredictable. How can this be in terms of trying to create a
logical magical system? Think chaos theory. Think in terms that we
dont fully understand the physics of the forces as work in our own
world. Could it be that magic is not fully understood in your fantasy
world?

Which of these above assumptions might you use in your world to help you
create your rule base?
Suggestions on creating rules that seem logical and work in your fantasy
world:
Be consistent. The rules cant contradict each other. They dont change in the
middle of your story or novel.
Consider the rules that magicians from our mundane world use. How are they
different than the magical system in your fantasy world:
Never perform a trick without first perfecting it.
Never let your audience see you sweat
Dont give away your secrets.
Keep the list of rules short and simple. You might start out with many rules, but
try to combine and condense these until you have five or less rules.
Consider writing your rules based on the five Ws: who, what, when, where,
why.
NUGGET:
Treat your rules with respect. They should be taken as seriously as earthlings
take the force of gravity and or Newtons Law.

Other considerations:
Develop a magical concept What does you magic look like?
What are the mechanics of your magical system?
Write guidelines for the magic in your fantasy world.
Think of magic in terms of skills What magical skills will your
characters have?

The magical rules must make sense in the context of your fantasy world and
culture. Magic cannot exist in isolation. All things are connected.
Guest Author Bio:
P. June Diehl is the author of The Magic & the Mundane: A Guide to the Writers
Journey (http://www.epress-online.com/DIEHL/The-Magic-And-the-
Mundane/sales-page.htm) and working on a second book for writers. She is
finalizing her first novel, Murder in D Minor, an alternative earth murder mystery.
June works as a writing teacher and editor and can be reached at:
http://www.iwriteforyou.org and pjune@yahoo.com
















Primitive World Amenities
Creating a primitive fantasy world offers writers the challenge of incorporating
amenities provided in ways foreign in today's culture. Amenities include things
like:


bathing
using the privy
sources of drinking water To garner details to create a realistic primitive
setting, it helps to look at history, back to times when harsh circumstances
greeted individuals each morning. Imagine waking without running water. No
bathing, flushing a toilet or adding water to the coffee maker.


Bathing In a Primitive Fantasy World
Do people in your fantasy world take baths? Is it a luxury? Fantasy writers have
options. Characters bathing in lakes or rivers can be found out by passersby.
Another bathing option includes a wooden tub hidden beneath a canopy or tent
for privacy. During the summer months, this tub could be found outside in a
garden setting. In the winter, it would be found beside a raging fire indoors. Either
makes for a setting spilling over with possibilities.

In most primitive fantasy settings, wealth separates classes. The wealthy have
more amenities available because they have servants to do the work. One such
servant would be the bathman. This servant readies bath accessories and helps
their lord or master to get dressed.

Other than the wooden tub, a lavabo makes for an interesting bathing scene. A
lavabo is "a large stone basin equipped with a number of small orifices through
which water flowed, used for the performance of ablutions." Some of these
lavabo were rather ornate. Fantasy writers can carve a lavabo into a shape of a
creature relevant to the plot. Although such a tub is historically tied to rituals, it's
existence makes for an interesting possibility when designing your fantasy's
amenities.

In the Old Testament the Jewish priests washed in a laver. This large basin sat
on a pedestal of ornate bronze oxen statues. This bath set outside the Hebrew
tabernacle, and represented a spiritual cleansing. Fantasy writers can add an
element like this for cleric-like characters.

Growing up, I visited my great-grandparents before they had running water. A
basin sat at the door for washing hands as each person entered the house. Such
a washbasin can be included in a primitive fantasy world for washing before and
after meals. In fancier settings a refillable tank can be placed above the basin to
help keep wash water clean, but remember it is someone's job to fill the tank.


The Privy or Latrine In A Primitive Fantasy World
Where do fantasy characters go when it's time to relieve themselves? Privy and
latrine are names for toilet commonly used when writing fantasy. Remember,
primitive times were crude. Chamber pots were a common household item, used
to collect urine and feces and later dumped. For this article we'll look at the more
aesthetically pleasing privies that were often used in castles. Much like an indoor
outhouse, privies consisted of stone or wooden seats that emptied via a chute
into water like a moat or stream. As primitive as this sounds, a privy was a bit of
a luxury and unfortunately had to be cleaned. People with this job were called
gong farmers.

Another consideration when designing your fantasy privy is lighting. Is there a
source of natural light or do characters have to carry a lantern, candle or torch?
Is it drafty enough to blow out the light? Also, consider information from the
above section and think about whether your privy is equipped with a washbasin.
How advanced is your society?

When designing the privy, think about the chute. Is it a way for enemies to gain
access, or is it equipped with bars to keep invaders out? If so, who cares for the
condition of the bars? Do they rust? Do they need cleaning?

For wealthier fantasy characters, you may want to add a chamber privy. This is
nothing more than a seat protruding out form the wall of a private sleeping
chamber, but such a convenience may make for an interesting setting in your
fantasy novel.

And what about privacy? Do all your characters use the same facilities? What
about the guards? As a writer, you can develop facilities that work for your story.
Historically, large castles built special towers so guard privies could be located in
one place. These emptied into a pit in the basement that made invasion to
overcome the guards more difficult. Another common location for guard privies
would be within the castle wall construction. Check my article on castles for more
information.


Wells As a Source Of Drinking Water
When writing fantasy, strategically place clean water sources to make sense in
your plot. Capture the source of drinking water and you capture the people. In
primitive cultures wells were a common, essential source of drinking water. When
creating larger castles, fantasy writers can dig more than one well in the
courtyard or bailey. It may be located within a wooded structure known as a well
house or if the society has the technology, the pump house. Wells can also be
placed inside a castle setting. If you do this in your fantasy writing consider
logistics and keep it near the kitchen or other places where water is often
needed.

Because wells are necessary in a primitive setting, another idea when developing
your fantasy is a secret well. If you create it, give it purpose. Hide it in the
basement or dungeon as a secret way into the castle, or give it magical
properties like something that could be used by a healer or in a wizard's dorm.

You've most likely seen buckets tied to ropes to pull water from a well. This
method was even used to draw water from one floor to another within a castle as
buckets pulled through trap doors from one floor to the next helped avoid
carrying water up long staircases. Biblically, in nomadic societies, wells were
conquered and filled with large stones so they couldn't be used. Women draped
cloth over the mouths of wells to dry grain, which biblically was used as a way to
hide men from those searching for them. Be creative. Wells should exist in your
primitive fantasy world. Use them in your plot.


Don't Forget the Sense of Smell
With all that we've learned about amenities, consider the sense of smell when
writing about a primitive fantasy world. Where do characters draw water? How
does the moat smell? How about within the castle? And just think, we didn't even
talk about garbage or livestock.













How To Capture And Defend A Castle
Castles situated on a high, hard to reach locations makes storming the castle a
tapestry of interesting plot threads that offer opportunities for rich, vivid imagery
when writing fantasy. To create a realistic scene, writers must know enough
history to make a castle attack authentic from either side of the battle.


How To Capture The Fantasy Castle
To capture a castle, attackers must get beyond the walls. When writing fantasy,
hold onto enough history to make it real. Fantasy writers should offer hints of how
to capture or defend a castle throughout the plot threads. Don't offer too much
detail, but put the pieces in place so that when the attack takes place, and these
same pieces come into the picture the reader understands what will happen and
how it works.

Because of the formidable design, historically, the safest way to capture a castle
was to starve out the occupants. However, this wasn't as easy as it sounds.
Remember those store rooms beneath the hall in the keep? If the castle
residents had fair warning of an impending attack, they could hoard enough food
and drink to survive a lengthy siege.

If castle occupants make adequate preparation to wait out the siege, it increases
tension and conflict in the storyline. Action can advance as armies resort to
weaponry of the era. Weaponry opens opportunities for the fantasy writer to
create similar but unique weapons constructed specifically for the story-the
fantasy version of the secret weapon.

In reality, many lost their lives trying to breech castle walls. Catapults hurled
stones to weaken the wall, but as attackers stormed the castle, a barrage of
arrows sliced through the sky from the arrow loops.

Another tactic to capture the castle was to fill the moat with rocks and fashion
tree trucks into a rough semblance of a bridge to make crossing possible. Once
the advancing mob reached the main gate, a large, heavy beam was used to ram
the closed drawbridge until it gave way.

One other weapon used to break through the castle walls were storming towers.
These wooden constructions (covered in wet hides to prevent burning) were
rolled against the wall to work as a ladder.


Defending the Fantasy Castle
When writing fantasy, the writer can also learn from history to defend the castle.
If you check the article (link)Social Classes When Writing Sword and Sorcery
Fantasy, you'll learn that the army defending the castle was usually comprised of
the lord of the castle, his knights and villiens who agreed to fight as part of their
service due, along with vassals paying homage and those who served the vassal
in a like manner. At times professional foot soldiers were hired to fill out the
ranks, and even knights were known to rent out their fighting skills.

As attacking armies assaulted the castle with storming towers, defenders shoved
the wooden structures from the wall and into the mob because once the first
wave of attackers made it over the wall, they engaged in hand-to-hand combat to
make it easier for their comrades to join them.

Other deterrents used to keep the enemy at bay were things like pouring boiling
pitch from the top of the wall onto the army below, and of course the swarms of
arrows whistling into the angry mob.

If your attackers break through, it results in bloody hand-to-hand combat, but
that's okay. You're readers know where they are at every turn, how to escape,
and engages the readers to keep reading to see your characters through the
entire ordeal.






















How to Build a Fantasy World
Fantasy writer Donna Sundblads creative writing book Pumping Your Muse
states, World building on the front side of writing your story reduces the
likelihood of going back to add threads of details about your world to make the
plot work. Creating a fantasy landscape is a foundational aspect when writing a
fantasy novel. Geographical detail captured on paper helps develop scenes
logically, correctly and with clarity. If the evil sorcerer lives beyond the dark forest
to the south, indicate trees to the south on your map with a mark showing the evil
sorcerer's home. It doesn't have to be an artistic map worthy of publication.
Instead, it should be detailed in a way that the fantasy author understands and
recognizes.
Mapping Fantasy Landscape
When mapping your fantasy landscape, consider whats important to the
emerging society. Include categories like:
Fertile Farming Land - Agriculture: Fresh produce is needed even in the cities.
Where does it come from? If it is transported from more rural areas, how is it
moved? Or, does each home have a garden tucked away on flat roofs, or
community property set aside for this purpose?
Water Resources: Gold or silver profits nothing if you have no water. How
scarce or abundant is water in your world? How does the water system work? Do
water treatment plants exist? If so, are they well protected or is there no need for
such fortification? Is the water run through pipelines or does it travel by more
natural avenues? Does water supply power? If a dam exists, be sure to mark it
on the map with consideration of potential devastation if it should break.
Seaports and Industrial Areas - Commerce: What type of goods do the cities
in your fantasy land buy and sell? Is the economy healthy? Are things bought on
credit, or do people pay up front? What currency is accepted? Is this the same
throughout the kingdom? Does trade exist between other cities, provinces or
nations? How did this trade relationship develop?
Forestry: Is the majority of your fantasy world forested? If cities exist, do they
have parks, forest preserves or other natural settings for the residents to enjoy,
or is it a futuristic, barren post-nuclear war metropolis? Consider the importance
plant life plays in the quality of air and condition of soil.
Fantasy World Seasons and Weather
The same town or setting, with a different climate makes for a different scene.
Sounds of wind and rain change the setting's mood. Depending on other known
factors, weather elements add a sense of suspense to an otherwise ordinary day.
Use weather to provide an obscure foreshadowing. For instance, according to
weather folklore a condition known as storm moon occurs in March. A fantasy
writer can take a tidbit like this and incorporate it as fact within the fantasy world
to give the moon powers that change the weather, thus setting the scene for the
plot to unfold.
Does the expanding fantasy land experience four seasons? Are any of the
seasons harsh or extreme? Are the seasons changing and unpredictable?
Take a look at the weather channel, or even your local weather broadcast. Jot
down weather in various parts of the world and problems that arise. Use the
information to add a splash of weather to your world to stimulate your imagination
and see what happens.
Construct a History
Fantasy novel writers work out a history as they build a fantasy world. This
involves anything from politics, religious views, and anything similar that may
divide or bring people together.
Books with pictures stimulate world-building ideas. Encyclopedias for older
children present one potential source. Flip through the pages and glance at the
pictures. When you find an item or event that stimulates your imagination,
consider it. Text included in this type of book is short enough to peruse
information in minutes. From there you can either research it further, use what
youve learned or dismiss it entirely. The bottom line is that it doesnt waste a lot
of time.
Dont allow character or plot to sidetrack from the task of pulling together
geographical details; jot down exciting but distracting ideas to get them out of
your head and into a safe place until the basic world has evolved enough for
characters to walk about. If your story takes place in a specific city investigate the
history of that city. Even when writing fiction you need to use enough facts to
make the story believable.
Once the landscape is in place, add characters and build a rough timeline. The
past and future dont need to be well defined, but exist enough to help the
fantasy writer know where characters came from and where they are going.







Creative Writing for Fantasy Writers
Creative Writing demands a level of organization dictated by the complexity of
your plot line. I have heard that there are only seven different plot lines, with
thirty-six variations. Yours could be unique but it will still need to follow the
fundamental rules if you are going to keep your readers for the whole journey.
How To Map Your Plot
You must have all the information about: Who, Why, Where, When and How,
before you start.
Who. Know your characters. Decide what personality traits they bring to the
story. Know their history. Know what motivates them, their favorite foods their
deepest secret, their first kiss, their worst nightmare.
Why are they in the situation of the story you are writing? History and back story
are vital. Even if you don't use any of your ideas in the story, you must know why
events are unfolding and the reasons must be convincing. Fantasy plots might
not be in the realm of believability, but if they don't convince the reader, you're
wasting your time. So, the 'why' everything happens is vital.
Where is your story set. Close your eyes, if you can't see where the scene is
happening, do more research. Find a photo, film or dream until the dust is gritty
and the wind chills your blood. IF you can't imagine where your story is taking
place . . . don't expect your readers to follow you.
When, is pretty much covered by where. Set the time line . . . then don't add
modern slang to a period piece or localized knowledge to a fantasy world. Keep
your artifacts accurate as far as possible. Don't have knight's nuking their prey or
off world wizard's chewing gum.
How, is the most important ingredient in your plot. Take notes and keep track
of all the hows as your create your world. Show how your characters react to
every situation.
Your hero must resolve the dilemma (conflict) they face.
They must grow, through conflict, adversity or discovery and gathered
knowledge.
Your plot must include the how the protagonist and the antagonist resolve their
tales.
Plot how does the adventure leads into the climax
Decide if and how the climax will resolve all the problems presented.
Make certain all the loose ends of the plot and sub plots are resolved.

Before you complete your plot, make sure your plot resolves all of these points.
Then you are ready to write, and your characters have a field in which to come to
life.










































Dialog In Creative Writing
When a person speaks, those listening hear tone, and assimilate peripheral
information like body language and context to gain a total understanding of the
meaning of the words. Identical words spoken within a disparate set of
circumstances using different inflection and tone convey varied messages.

For example: "Pick that up."

Consider an organized housewife speaking with her husband by phone. She
asks him to pick an item up from the grocery store on his way home from work.
Her tone will differ from that of a teacher scolding a student for tossing a paper
airplane in class. Dialog alone doesn't paint a complete image.

In creative writing, the goal is to engage the reader's imagination and pull them
into the story with an active voice that sets the tone and mood. "Show don't tell"
is a familiar mantra within creative writing classes, and a lesson learned over
time with the experience of writing.


How to Convey Tone
Tone conveys emotion. How something is said changes the meaning. It sets the
mood. Don't rely on explanatory speaker attributions imbedded in speech tags to
convey meaning. For example: "Pick that up?" he asked disgustedly. The adverb
disgustedly tells rather than shows that the character is disgusted. Avoid
describing emotion that the dialog should carry. Let readers experience the
underlying emotion naturally without telling them what to feel with the use of
descriptive modifiers.

Descriptive modifiers amend the meaning of what they modify with further
information. When used in speech tags, they modify the dialog by telling the
reader how it is said. Most editors consider the use of excessive speaker
attributions as amateurish. Don't tell the reader how something is said. Instead,
build enough detail around the dialog with action that conveys the tone through
body language. Consider the difference: Muscles in his jaw tightened. "Pick it
up?" His face twisted in disgust.

Words like hissed, seethed, etc. draw attention from the dialog to focus on the
speech tag's telling information. Using speaker attributions marks writers as
inexperienced. Stay away from describing emotion the dialog should carry. Verbs
other than "said" tell readers what to think, instead of allowing dialog to speak for
itself. If emotion connected with the scene is clear, the modifier offers redundant
information. Redundancy ruptures the flow of the passage. It's distracting.

While avoiding descriptive modifiers, don't compensate by imbedding information
dumps within dialog. Unnatural dialog leads readers to wonder why the author
artificially added content-another distraction.


Mood and Emotion when Crafting Dialog
Body language infuses emotion into dialog. Sometimes what is not said is more
powerful that what is said. People move and make facial expressions when they
talk. Known as a beat, actions surrounding dialog limit redundant tags. If you
show the character pound their fist against the table, it eliminates the temptation
to use a speech tag telling the reader he is angry.

Creative writing reveals not just an exchange of dialog between characters but
unveils thought processes that expose motives, emotions and internal conflict.
This is one area where writing a book has advantages over producing a film.
Knowing a character's thoughts lets readers experience life within the story from
the character's point of view and to connect on an emotional level.

In creative writing, thoughts are italicized differentiating them from spoken dialog.


Who Is Speaking?
When two characters engage in a verbal interchange, it's easy to make it clear
which character is speaking. A rule of thumb to follow is to use speech tags for
only one of the two characters. Speech tags are not necessary every time the
character speaks, but should be used as needed for clarity.

When a new character joins the other two, it becomes a little trickier to elucidate
which character is speaking. Tools such as speech tags and beats help move the
story along with clarity. However, a word of caution regarding using the basic
modifier said. In an effort to avoid redundancy, beginning writers search for
synonyms like replied, remarked, exclaimed and other similar words.
Unfortunately, these draw attention away from the dialog. Don't use them or at
best, use them sparingly. In most cases the word said is the preferred modifier.


Dialect
Colorful characters developed within the creative process have gender, physical
characteristics, and a limited past including where they come from and the
education they have received. These factors reflect in the character's speech.
When writing dialog, don't get carried away with phonetic spellings to show
dialect. If readers stumble through strange spellings, focus is no longer on a
natural give and take between characters, but more like working a "What's this
word supposed to be" puzzle.

In the book Self-Editing for Fiction Writers, authors Renni Browne and Dave King
say it best. "Explanations, -ly adverbs, oddball verbs of speech, trick spellings-
these can't really help your dialogue because they don't really change the
dialogue. They take the place of good dialogue rather than help create it."

Instead, make appropriate word and grammar choices to convey dialect flavor.
Read dialog aloud. With the right setting and proper word choices, dialect comes
through without tricky spellings that send your spell checker into overload and
readers scratching their head.






























Sword and Sorcery Social Classes
Medieval lifestyles work as a springboard for writing sword and sorcery or high
fantasy. Social classes in medieval times were clearly drawn and hard to change.
For this article we'll take a look at medieval life within the manor setting: a perfect
study in not only how people lived, but also how social classes related to one
another. High fantasy writers weave such medieval historical bits with
imaginative threads to create new, unique and fantastic realities. Here magical
swords sing, knights fight ogres, evil sorcerers cast spells, and dragons with
many heads haunt the land. The magic also allows a poor man with integrity to
change his world. However, before we get to the magic, it's important to know the
history.

During King Richard's reign, every man's goal was to own land. The strongest
warrior became lord of conquered land and reigned over the manor in service to
the king. A great lord might have several manors under his charge.


A Self-sufficient Manor
A manor functioned like a self-sufficient country. It usually incorporated open
lands like meadows, woods, fields, rivers, and pastures for livestock and farming
as well as a mill (sometimes small enough to be run by one person) to grind grain
into flour, an oven, wine press, and church.

The castle where the lord of the manor lived worked like the capital of the self-
contained manor. Within his castle walls, skilled craftsmen worked as paid
servants. This included bakers, carpenters, millers, smiths, leather workers, etc.
For their services, this skilled labor force received payment. Pay included money,
food and lodging. For writers of fantasy, this scenario opens the door to a variety
of plots as the mixture of families and social classes lived under one roof.


Villeins
Poorer peasants worked the lord's farms. In return for their hard work, they
received strips of land on which they raised crops to feed their own families.
Under the feudal system, these poor peasants lived as members of a class of
partially-free persons known as villeins. Villeins held positions as serfs with
respect to their lord. However, they maintained rights and privileges of freemen in
their dealings with others.

Villeins lived in huts made of mud and wattle. These huts more often than not
consisted of two rooms. Thatched roofs protected occupants from the elements
and one window (known as the wind's eye) lit the typical villein's hut. Fire burned
on a stone slab situated in the middle of the earthen floor for warmth and
cooking.

Onions, dried herbs, and strips of meat hung from rafters, while tools used in
service to the lord perched along the walls. Villeins paid taxes in the form of
produce raised on the strip of land provided by the lord, while also working in
service to the lord at jobs such as repairing bridges and roads about two or three
days a week.

Villeins lived under a set of strict rules, one being the fact they could not leave
the manor without the lord's permission. This restriction may seem unfair by
today's standards, but remember the lord allowed the peasants to live on his land
as a way to provide for the family. It was an agreement. Villeins lived on this strip
of land, and had a garden, house, livestock and tools. The harder a villein
worked, the better off his situation would be. However, social class and structure
many times trapped worthy people in a mundane existence, while raising others
less deserving to a life of opulence.


Manor Life Under the Feudal System
Manor life under the feudal system provides a rich history for the fantasy writer to
tap into. Consider the wealth of possibilities. A young villein who hates farming
may escape life in the manor and strike out on his own, or he may work hard and
buy his freedom. He could even join a band of outlaws that live in the forest, such
as in Robin Hood.

In Howard Pyle's Men of Iron a lord is accused of treason and lives in refuge in
the sanctuary of a church for years. His son becomes a page and squire and
redeems the family name. On the other hand, consider the footloose hooligan
pulling a prank in Robert E. Howard's Gates of the Empire who flees to the Holy
Land to avoid the consequences. Fantasy stories based on life in the manor are
fraught with interesting characters and provide a variety of plot choices set in a
unique social structure and quaint locale. Add a daub of magic and ta-da, you've
created sword and sorcery high fantasy






Shakespearean Linguistics
By Guest Author Scott Ferrara
Language is the heart and soul of the story. All stories should be written as if told
over a roaring fire under a starry sky. Fantasy language conveys the language of
myth. The first rule of language is that names have power. To name something
gives one power over it. Naming gives the power of definition. Unusual names
are the spice of the fantastic. John Carter upon reaching Mars would have been
less than threatened if he had been attached by a vicious bloodthirsty horde of
Cuddly Chihuahuas. The purpose of fantastic language is to inspire awe and
define a race, object, or character. The sound of the name should invoke a
particular image or feeling. Shakespeare created words that we still use today.
Fantasy stories should be metaphors brandishing a lantern in the face of
ignorance. We are his decedents.

Poetry is the rhythm of the story. The pace ebbs and flows with the speed of the
language. The beauty of fantastic stories is the opportunities for characters to
speak in true heroic almost Shakespearean language. Heroes get their power
from saying the thing we wish we could say without a sense of irony. Villains get
to reveal their evil plans. Villains get to revel in their deeds. Characterizations in
fantasy should pull out all the stops. And this is exhibited in what the character
says. Now when I say that a character should speak in a Shakespearean
manner. I don't mean thee's and thou's, or blank verse. Use modern language.
But create the feeling of a high drama.

A fantasy world is a world and a play. As in Shakespeare certain societal factors
collude to create the world of his plays. They reveal all the same core elements
of societal intrigue: religion, race/family, politics, war, and crime. A world without
these institutions makes for extremely dry literature.


Important World Building Factors
Firstly make a list. Answer these basic questions.


Religion-Is the world a monotheistic or polytheistic society? If polytheistic name
the gods of that world's pantheon. How influential are churches or places of
worship in the world? Are churches the source of magic? In what rituals and
practices do the priesthoods engage? What beliefs in the available Gods do they
hold?
Race/Family-Fantastic races are a staple of fantasy literature. How many races
are there? Are humans the predominant race or the racial minority? Do humans
exist at all? Is there a history of racial strife between races? What are the family
structures?
Politics-What is the cultural and political infrastructure of the world? Is it class
structure, tribal, clannish, guild? Is it a theocracy? A monarchy? Many types of
governmental structures exist. When you design these elements, build the
organizational structure using a historical model or a model of your own. Name
the various faction members. As in our world many political factions vie for
control. In fantasy define who the enemies are.
War-War is a useful backdrop for any fantasy story? The prospect of war
hangs like a thunderhead over the characters? War is the darkest of times. It
engenders tension. People change in war. Nations change in war. War is the
major factor in the birth and death of nations.
Crime-Is crime a major factor of the fantasy world? Is crime rampant, full of
brigandage and piracy? Is crime organized like a contemporary crime syndicate?
Do a handful of characters have nefarious backgrounds or connections? Name
the criminals and the organizations. Is there a source of law enforcement? Who
are these brave beings? And what are the predominant laws of the world or area
in which the characters adventure? Remember you as the writer are the
playwright, director, and deity. Language is the heart and soul of the story. It is
your voice that gives power to the fantasy.


Guest Author Bio: Scott Ferrara
is a PLAYWRIGHT, DRAMATURG, SHAKESPEAREAN SCHOLAR and
STUNTMAN living in New York City. His most recent plays are Cyrano's Second
Chance, Love and Monsters, and Neelam Ampersand.















Show Don't Tell
As a Fantasy writer, it is even more important for you to know how to avoid falling
into the "telling" trap? When you are reading, look for how the Fantasy authors
you admire, manage to avoid the pitfalls. When you are out and about, observe.
record; make notes. Give your reader an understanding of what is going on.
Don't stifle their imagination. Let them use it as they traverse the landscape and
characters you have created. Take for example, the statement: "Caleath was
upset." Tells us, but doesn't really impress does it? How can we show the reader
'Caleath was upset?'
Let's return to our first exercise on writing creative descriptions, for a moment.
Look at our character Caleath. We know he's upset! How? Share your
information with your reader. Draw them into your story, so they feel they are a
part of what is going on. They will appreciate your thoughtfulness, as you invite
them into the world you are creating. So how do we go about doing that? How
has your favorite author drawn you to their writing? Look at your character.
How do we know he's angry, sad, upset, confused, happy, or thoughtful?
Describe his actions and the extent of his turmoil, by using each of your senses.
(In the same way you described the objects from the last exercise.)
For Example
Caleath raked his hands through his hair and peered into the shadows with
increasing anguish. He gestured with raised hands, hearing bitterness in the old
mage's voice. His answer was no more than a whisper as he moved to his feet
and began pacing like a caged cat. He wanted to shake the old man until his
teeth rattled. Instead, he sighed with resignation. You don't need to use all of
your description at once, but you now have enough to use when you begin to
upgrade dialogue tags.














Learn the Magic of Writing Fantasy

Aspiring writers who want to know how to write a fantasy novel must develop not
only fantasy characters, but also the fantasy world in which the story takes place.
Fantasy, world building includes elements of magic, geography, climate, history,
religion and social structure. Fantasy characters then move about these
kingdoms, lands and realms where the fantastic awaits at every turn.
Writing a fantasy novel leads authors to unique dimensions of the imagination.
Wizards, witches, warlocks, and other fantasy beings gifted in the craft of magic
or who possess supernatural powers present avenues for plot twists as unique
as the fantasy authors imagination. Articles listed here will help the aspiring
author learn how to create fantasy characters and scenarios within mythical
magical realms.
Fantasy Mythical Magic How it Works
Threads of the supernatural and fantastic run through fantasy novels no matter
the subgenre. Modern day fantasy conjectures worlds different and separate
from the world in which we live. When writing a fantasy novel, it helps to map
geographical terrain of the fantasy world and track supernatural elements and
powers, including magical amulets and other charms along with how they work or
dont work
Fore example: Items such as swords (The Sword and the Stone), shoes (The
Wonderful Wizard of Oz), wands (Harry Potter and the Sorcerers Stone), spells,
enchantments, and etc. all operate under a set of rules, because even in magical
realms laws of magic apply. Mapping and tracking help fantasy writers produce a
logical foundation for where characters live and how mythical magic works within
the story. When this is done correctly, readers learn to accept supernatural
elements as natural because they make sense.
Fantasy World Building
To learn the art of world building, fantasy writers must take into consideration that
mythical magic stretches parameters of possibilities beyond the norm. Natural
elements like climate, geography and history set the scene but may fall under
magical influence. For example: A fantasy worlds history can change if a
character travels back in time (magic) and changes a single event (A Wrinkle in
Time, and The Time Machine).
Geographical landscapes may be subject to alteration if a spell or enchantment
causes a change like a shift in the suns intensity. If the suns strength increases
or decreases, landscapes may shrivel from lush and verdant to desert or ice-
encrusted. Consider The Lion the Witch and the Wardrobe where the white witch
ensures that it is always winter. Collecting appropriate information to make your
world changing events believable will require research.
Fantasy world building involves real world fundamentals such as government,
politics and legal systems to enforce the law. When considering the part history
plays in the development of a fantasy world, things like wars, commerce and
trade, science and technology all hold significance. Even rudimentary aspects of
daily life involving manners and customs, education and specific apparel may
play an intricate part in the story line. Create enough past and future to make
sense for the storys timeline.
Developing Believable Fantasy Characters
World building sets the stage for believable characters to live within the charmed
borders of the fantasy world. Fantasy authors supply characters with a working
knowledge of how the magic works. For example: Flora and fauna may transform
into characters with unexplained capabilities such as casting a spell of
forgetfulness, or cursing anyone pricked by a thorn with 100 years sleep, while
inanimate objects like rocks can take on life to become an indestructible foe.
Flower people, rock monsters and other entertaining characters come to life
when the magic works, and fantasy characters with more human-like
characteristics accept these other life forms as a genuine part of reality.
For instance in Tolkiens The Fellowship of the Ring, Gandalf visits Frodo and
passes on the history of the ring. Readers accept not only hobbits, the powers of
the ring, and the rising of the Dark Power in the Land of Mordor, but when Frodo
and his friends have barely left the Shire, their encounter with the Black Riders,
although mysterious, is believable. A working knowledge of mythical magic
unique to the world aids readers in understanding characters, supplies a
knowledge of whats at stake and a comprehension of what resources are
available as characters enter epic battles of good versus evil with a full
understanding of what to expect.












The Gods of Fantasy
By Guest Author Brynneth N Colvin
Many fantasy novels feature gods. Books may start off by sending your hero on a
quest. They might intercede at the critical moment, or create useful challenges.
Gods can play an integral part in your plot or you might write them in as
background details adding colour to your setting. Gods can really add to your
fantasy novel if you get them right, but it is important not to let them take over.


What Sort Of Gods Should I Have?
In ancient human cultures, gods always relate to the lives of people. Whatever is
most important to a culture will be represented by gods-be that war, poetry,
farming, sea travel, dragon taming or magic. The gods in your novel should
reflect things important to your characters. You may want to include temples,
priests and priestesses, festivals, rituals and sacrifices to your gods to make
them more real within your story. The more gods that exist, the less powerful
they tend to be, and the more specifically focused they are. You might choose
one all powerful deity. If you have two deities, they could be good and evil, or
order and chaos. They could be gods of night and day, or war and peace-be
creative. If you want more than two gods, think of the things that your culture
values. Horse cultures will have horse gods. Fishermen will have sea gods.


How Powerful Should They Be?
Unless you are writing a book about gods, then very powerful beings interfering
in the lives of your mortals can spoil your story. After all, your heroes are the
ones who need to win the day, and all powerful beings won't be so attractive to
your readers because you know they're going to triumph. The more present a
god is going to be in your story, the less powerful you should make them. All
powerful, all knowing gods work better as distant objects of veneration than
characters in the plot. You can limit your god's power by only giving them magic
in their sphere of influence, not letting them be all knowing or placing other
physical limitations on them.


How Can Gods Enrich My Story?
Heros sent on quests or being given challenges by the gods fill ancient myths
and legends, so they make a useful plot device. Gods playing with the fates of
nations can also be interesting to explore, as is the possibility of mortals caught
up in the intrigues and jealousies of the gods. Religions evolve all sorts of
complex rituals and traditions which can be used to fuel the plot. Religion can be
good, or evil, or both within your story. It can provide you with wise old priests
and gentle healers, or with mad despots determined to convert the world by
force. Humans inspired by gods, or using gods to justify their actions can make
very good protagonists. Where you have priests, you might also have priestly
magic which can add another dimension to your tale. Religion may create social
castes, hierarchies, strange laws, or other social possibilities. Participants may
have to wear particular costumes, or respect peculiar laws and taboos-all of
which can add to your story and to the originality of your setting. Where there are
multiple gods and religions, you might have religious wars as well which make
good plot devices.


Making Gods Work For You
Your novel will have one or more heroes, and these are the people readers will
really care about and invest in. Very powerful gods who either solve everything,
or throw up impossible challenges that must be solved by other gods, detracts
from your heroes and it is important not to let this happen. Plan your story so that
the heroes take centre stage most of the time, and your gods do not take over.
Also, do not fall back on using gods to get your heroes out of otherwise
impossible situations as this is an obvious ruse and may well leave your readers
feeling cheated.


















Characters With Magical Skills
Fictional writers have a multitude of diverse sub-genres from which to choose
within the fantasy genre. Examples include high fantasy (Magic Kingdom of
Landover by Terry Brooks, and Tolkien's, The Hobbit), contemporary fantasy
(King Rat by China Miville) fairytale fantasy (The Adventures of Pinocchio by
Carlo Collodi), super-hero fantasy (Lois and Clark: A Superman Novel by C. J.
Cherryh), and sword and sorcery (Conan the Barbarian by Robert E. Howard) to
name a few. A common element found in all fantasy sub-genres is magic in some
form.

Fantasy characters exhibit vast magical differences from one sub-genre to
another. In the short story fantasy collection Tales of the Warrior Priest by Teel
James Glenn, the main character learns the magic of healing with song. He's not
a wizard or warlock but a priest. Magical powers are as limitless as the fantasy
writer's imagination.

For the sake of this article, consider some of the more common magical
characters.

Wizard:
One who practices magic; a sorcerer or magician.
Archaic. A sage. Wizards are often presented as wise older looking gentlemen
bearing white beards, long hair and a pointed hair, or hooded cloak. However, a
character can take on the role of Wizard and look nothing like this. Consider
Harry Potter.

Witch:

A woman claiming or popularly believed to possess magical powers and
practice sorcery.
A hag. Fantasy writers can portray witches as good or bad. In the Lion, the
Witch and the Wardrobe by C. S. Lewis, the white witch casts a spell on Narnia
that trusts the land into an endless winter without Christmas, while Glenda the
Good Witch from the North in the Wonderful Wizard of Oz uses her magic to help
and protect Dorothy and her traveling companions.

For clarification, a male witch, sorcerer or wizard is also known as a Warlock.

Beyond the obvious wizards, witches and warlocks, unique life forms such as
fauns, unicorns, trolls, elves, dwarves, faeries, mages, telepaths, shapeshifters,
heroes with superhuman powers and time travelers can be considered a list of
ingredients from which to draw as you create your own fantasy realm.

For example, in the fantasy novel Windwalker by Donna Sundblad, the most
special of the Windwalker fantasy characters not only walks on the wind, but has
telepathic and shape-shifting abilities. The goal is to make the magic
understandable to readers and unique to your storyline.


Combining Character and Magical Traits
Common characters found in fantasy novels include: Knights, jesters, kings,
queens, prince and princesses, paladins, warriors, priests, shamans, bards,
knaves, thieves, alchemists, wraiths, nomads, nobles, merchants, guards,
mistresses, dancers, travelers, minstrels, mediums, spies, barmaids, inn-
keepers, wenches, swashbucklers/sailors, blacksmiths, silversmiths (and other
such trades), slaves, doctor/healer, archer, and woodsman. This is by no means
a comprehensive list, but a list for aspiring authors to choose from.

Any fictional fantasy character included in the list above has magical potential. A
barmaid casting enchantments with beverages she serves or an alchemist
crafting enchanted medallions bestowing special powers to those that wear them
fall within the realm of possibility when writing fantasy.
























How to Start Building a Mystical Magic System

By Guest Author Joan McNulty-Pulver

So you are writing a fantasy novel, and it needs mystical magic. Have you
decided on the rules? Why does magic have to have rules? Just think about
todays technology. When you want to turn on your computer, you have to push
the Power button. If you dont, it wont turn on. That is a rule of technology.
Magic works the same way. If you want a spell to work, it must be said in a
precise way or it may backfire or fizzle out. If a character is scrying, they need
something to scry into, i.e. water, fire, a mirror, etc. Rules of magic have to work
consistently throughout your world.
I am a big fan of the Dragon Lance Series by fantasy authors Margaret Weis and
Tracy Hickman. In one of the early books, Raistlin owns a magical time travel
device it always finds it way back to its owner. Many books and two wars later,
Fizban, also know as the God Paladine, gives one of the devices to Tas to travel
back in time and speak at Caramons funeral. Tas gets arrested and the device
confiscated. While on his way to be incarcerated, he reaches into his pouch to
find the device restored to his possession. Magic works when fantasy writers
stick to the same rules even when applied to scenes and circumstances many
books apart.
How to Start
First decide what type of magic system your fantasy world will have. Will it be
simple or very complex? The more complex your system, the more rules will
apply. Rules for one gadget or tool may not be the same for another. Although
the time travel device always returned to its owner that does not mean all
magical devices have to go back to the character who owns them. An enchanted
stone could be stolen and never returned or a talisman could be lost and become
the object of the quest in your book. For magic that works and makes sense to
the reader, stay consistent throughout your book, trilogy, or series.
Simple and Complex Magic Systems
An example of a simple magic system is one that has a minimal amount of
magic, such as scrying, a few spells, herbal remedies, and maybe a few curses,
etc. Simple magical realms need the least amount of rules not only to figure out
but also to remember as the story expands. More complex magic systems, such
as in the Dragon Lance series or Harry Potter need more rules.
The following list of things to consider when creating magical systems for a
fantasy world is not complete, but intended to generate a basic set of rules:
When your characters use magic, what kind of effects should be available and
how easily?
Do you want magic users to dominate the world? Or can only certain types of
persons perform magic on a limited scale.
Is your goal a simple or many-layered/complex system?
Where does the power to perform magic come from?
Who can use the power? (In the book I am currently writing everyone can
mindspeak but not everyone can perform magic.)
Will you use the terms Wizards, Sorcerers, Witches, Sorceresses, Magicians,
etc? If so, will there be a difference or unique twist to their abilities in your
book?
Will your fantasy world have mythical creatures? Will they be able to perform
magic or will that power be wielded only by humanoids?
How much power will they have or are there different levels? Can your fantasy
character work to achieve a higher level?
Once you answer the above questions, you will be on your way to building your
mystical magic system. I am sure these questions will spur thought provoking
ideas and more questions to answer. Each answer brings you to another
question, but dont get bogged down with unnecessary details after you have
what you need.





















Fantasy Writing - The Hook
Good writers engage a reader's imagination, enticing them to keep reading.
When readers turn the page, the fantasy writer's job is to lure them to want to
know more. Fantasy writers must generate questions about what happens next
or awaken musings to wonder why an event occurred. Without these essential
elements, interest wanes, the book is closed and set aside. If the initial hook
works, it engages the reader to want to know more and prods the imagination to
consider the possibilities.

When you walk into a bookstore, how do you determine what book to buy?
Potential book buyers scan titles within the genre that interests them. Effective
titles work as the first hook. A catchy title gets the book picked up to learn more.
An appealing cover appropriate to the fantasy genre helps raise curiosity to know
more. Once the book settles into the hands of an interested customer, the cover
blurb works as bait. An effective blurb snags the attention and drags it along
enough to open the book and scan the first few pages. Does it meet their
expectations? It's important that the fantasy writer develops an effective hook
within those pages. It's the hook that sells the book.


Setting the Hook
Consider the hook to be the DNA of your fantasy novel. Popular crime dramas
take a drop of this chain-like chemical, and follow the detail it provides to solve
the most baffling cases. DNA is embedded in the nucleus of every cell.
Fragments of this chemical chain incorporate genetic code. When writing fantasy,
the hook contains the code that advances and directs the storyline.

Once you hook a reader, it's important to sustain the right amount of tension. The
goal is to keep readers interested. As curiosity is satisfied, stir a new question or
two in their mind by baiting them with a new hook. Evoke another emotion. Keep
the reader hungry. A literary hook spawns questions. Tension and conflict make
the reader turn the page looking for the solution.


What to Avoid
How many times have you flipped through flowery description that attempts to set
the scene at the beginning of a book? Description dilutes intended conflict. The
story is not about descriptive detail, although it's important to set the scene. If the
detail doesn't generate a question, it isn't a hook.


A Good Place to Start
An advantage to writing is that the author has the opportunity to convey conflict
and struggles experienced by the characters both inwardly or outwardly. These
conflicts are a good place to start. They generate curiosity. Try to include conflict
within your first sentence or paragraph. Don't confuse conflict with physical
fighting. It can be as simple as your character experiencing day-to-day turmoil
stuck in a dead end job and wondering what they are going to do to change it.
They have a family depending on them so they are stuck. Or are they? That's the
hook.

Remember to include tension throughout your fantasy novel. Offer the reader a
bit of resolution to one thread as you create a new hook. Too much constant
tension without relief desensitizes the reader, they'll grow bored. Hook the reader
at the start of the book, and at the beginning of each scene or chapter. One hook
should lead to another uniting the DNA of your fantasy novel into an interesting,
compelling story.

























First Person Point of View Continued: Narration
We discussed the types of First person point of view and now we will consider
the various styles of writing this point of view.

Interior Monologue. This involves writing as if the narrator is inside the main
character's head at the time of writing. The author writes as if they are
experiencing all the character thinks, lives and reflects on. This style of writing
draws the reader into the character's journey.

Example. "I think I will take the day off. It's too nice a day to go to work."

Diary or Journal Entry. In this style of writing the author writes as if making a
private entry into a diary or journal. It can become a personal record revealing
more about the character than other viewpoints would.

Example. "Dear Diary: Today I took the day off. It was too nice a day to go to
work."

Letter. This style calls on the author to write as if the main character knows
someone will read their words. Consider if the letter is being written to a loved
one as a private correspondence or to family or colleagues.

Example. "Dearest Friend, Today I took the day off. I have to tell you that it was
too nice a day to go to work."

Public journal. Blog. This style would involve the main character expecting the
public to read their words. An example of this viewpoint is an explorer's journal, a
captain's log entry. The timing of the narrative would not be immediate in this
case.

Example. "Have you ever wanted to just take the day off? Today was too nice a
day to go to work. So I did just didn't turn up."

Literary Recollection. In this style the narrator becomes the storyteller. Think of
a grandparent retelling family history, or dictating a novel.

Example. "Let me tell you how it happened. A perfect day dawned. Work wasn't
on my agenda, so I took the day off."

Dramatic Monologue. If the main character is addressing the reader, this device
can be effective.

Example. "I said to myself, this day is too fine to spend indoors at work. At this
stage, I made the decision to take the day off."

Notes to Self. Or Mental record. This style of narration involves the main
character telling the story to themselves.

Example. "Today I will take the day off. I couldn't possibly work on a day like to
day."

Take a few moments to write a paragraph or two using each of these styles.
Avoid using too much. Allow the narrator to talk about other characters more
than themselves, to prevent this common mistake. Don't limit your fiction writing
to these styles. Use what suits your voice, genre and theme. Consider how they
affect the intimacy between the author and the reader. Do they offer the style
needed for writing your Fantasy novel?

































Point of View
Second Person
Rarely used for Fantasy writing, this point of view is more common in how to
guides and demonstrations. It is when the narrator addresses the reader, taking
them into their confidence.
Example
Think about what sort of a story you are trying to tell. Then decide on which point
of view will serve your purpose best. For Fantasy you might find second person,
addressing your reader the whole time, doesn't give you enough scope to
describe action and character's emotions. Then again, it might be perfect for
what you want to do.
Point of View: Third Person
Writing in the third person allows the author to describe actions, characters and
scenes while distancing themselves from the story. The use of he, she, they,
their is indicated, rather than I and we from first person, or you from second.
While first person point of view involves the reader in the narrator's story, third
person allows scope to step away and give an objective view. Consideration
should be given to which style of Third Person point of view an author needs to
use, in order to convey the tone and emotional content of their writing.
Third Person: Objective
Consider this point of view as if the author is viewing the story through the lens of
a camera. They can only see and hear what the characters are saying, or doing.
Emotion is inferred through language or actions. There is no knowing what the
hero plans or thinks when using this view point.
Example:
Disturbing clouds of dust the hero strides across a sunbaked square toward a
ramshackle well. The hero licks parched lips as he lowers an empty bucket into
the depths. A splash sounds as the rope reaches its limit. The hero wipes his
brow and with a grunt begins to wind the wooden handle.
Omniscient: Point of View
In Omniscient Point of view, the narrator knows everything. This is god's eye
point of view. The author knows what motivates characters and all thoughts,
feelings and actions can be related to the reader.
Example:
Thank God, water at last. The hero offered a silent prayer as he licked cracked
lips and strode toward the well. He didn't see the two figures lurking in the
shadows, watching and waiting. The fetid scent rising from their worn coats didn't
reach him, nor did he see the glint of sunlight when one watcher slid a wicked
blade clear of an oil-stained sheath.

The hero struggled to swallow. His parched throat ached as he imagined the
touch of cool water crossing his tongue. The well looked untended, but the rope
appeared in good condition and if the empty bucket felt brittle to his touch, he
knew he had to take the risk of losing it.

The watchers crept forward, taking care not to disturb the dust as they moved
through deep shadow. Nostrils flared as the sound of water tortured their
dehydrated bodies. In silence they moved, waiting for the right moment. They
would only have once chance. They knew failure would mean certain death.

The hero held his breath, feeling his heartbeat thunder in his ears as he waited to
hear the splash when the rope reached its limit. 'Yes!' Sighing with relief he
wiped his brow and dragged on the wooden handle.
Limited Omniscient or Character Driven: Point of View
In this point of view, the narrator sees through the eyes of a single character. The
reader is only shown what that character sees, feels or knows. If the narrator
wants to change from one character to another, it is wise to limit the altered
viewpoint until the end of a chapter. Otherwise the reader can become confused.
Example:
Thank God, water at last. The hero offered a silent prayer as he licked cracked
lips and strode toward the well. Despite his need, he cast a furtive glance around
the deserted square.

Shadows could hide the creatures hunting him but for now the need to quench
his thirst drove him to disregard the danger. He tested the dry air for their acrid
scent, lifting his hand from its place on the hilt of his sword as a tangle of dust
followed his footsteps.

He struggled to swallow. His parched throat ached as he imagined the touch of
cool water crossing his tongue.

Although the well looked untended, the rope appeared in good condition and if
the empty bucket felt brittle to his touch, he had to risk losing it.

Too impatient to breathe, his heartbeat thundered in his ears as he listened for a
splash.

When the rope reached its limit and the welcome sound of sloshing water echoed
in the narrow shaft, he sighed. Ignoring ever-present danger he wiped his brow
and dragged on the wooden handle.









































Head Hopping
Head hopping is the most common fault a writer will come across when using
third person point of view. This occurs when the narrator suddenly changes
the character through which the reader is viewing the scene.
Example:
Thank God, water at last. The hero offered a silent prayer as he licked cracked
lips and strode toward the well. Despite his need, he cast a furtive glance around
the deserted square.

Shadows could hide the creatures hunting him but for now the need to quench
his thirst drove him to disregard the danger. He tested the dry air for their acrid
scent, lifting his hand from its place on the hilt of his sword as a tangle of dust
followed his footsteps.

Creature lifted a finger, signaling his comrade to caution, though their target
made no sign of seeing them. He sniffed the dry air and waited, watching.

The slight breeze carried any scent, away from the swordsman. Fingers closed
around the familiar shaft of a wicked blade as he slid it clear of an oil-stained
sheath. Still his quarry made no sign of being aware of their presence.

The hero struggled to swallow. His parched throat ached as he imagined the
touch of cool water crossing his tongue. The well looked untended, but the rope
appeared in good condition and if the empty bucket felt brittle to his touch, he
knew he had to take the risk of losing it.

Creature nodded and began to creep forward. Each step taken with care, he
wouldn't chance disturbing the telltale dust as he used the deepest shadow to
hide their approach. His nostrils flared as the sound of water exacerbated the
discomfort of extreme thirst.

In silence, he led the way, waiting for the right moment. There would be only one
chance. Failure would mean death, and he wasn't about to die in this forsaken
end of the desert.

Too impatient to breathe, Hero's heartbeat thundered in his ears as he listened
for a splash. When the rope reached its limit and the welcome sound of sloshing
water echoed in the narrow shaft, he sighed. Ignoring ever-present danger he
wiped his brow and dragged on the wooden handle.
Things To Do
Write a scene using each type of Point of View. Experiment. When you are
reading, look at how famous authors use different Points of View to achieve their
objectives. Each style has its use. Try them all, practice and then consider how
each one can give the author an advantage, in trying to keep the reader 'hooked'
and 'involved' to the last sentence of the Fantasy novel.










































Consistency and Logic
By Guest Author Brynneth N. Colvin
Much like mapping, tracking follows characters and objects throughout various
plot threads during the novel writing process to ensure consistency and logic.
Tracking includes:


Where Characters Travel
Characters possess various bits of information or even lack of knowledge about
places found within the fictional worlds where they live. If a character has never
graced the shores of the village on the lake, all they would know is what they've
been told. Hearsay. If characters base their actions on hearsay, they may find
themselves caught in unforeseen trouble when plans don't work. That's fine, but
actions and consequences need to match experience and knowledge.

What characters know needs to be consistent with their experience. Fantasy
writers can be tempted to throw in a previously unknown morsel of knowledge to
make a plot work. However, when this is done, the thread of knowledge must
weave back through the plot to keep the logic consistent. If they didn't know it
earlier, they won't know it later. Track where characters travel and what they
know.


Who Characters Meet
Who characters meet is a little easier to track unless your novel is filled with a
large number of primary characters. It's the primary characters' relationships that
need to be followed. Their actions and reactions move the plot along. Also track
window characters (those that provide insight to various scenes and happenings
in the primary characters' lives).

Just like in real life, not everyone knows everyone else. When writing a novel,
include characters that work to move the story along by adding tension or conflict
to the plot. This hooks the reader's attention and makes them hungry for more.

If your protagonist has never met Guard 3 within information provided to the
reader, and yet at a checkpoint later in the story the two mysteriously remember
each other so that the guard let's the protagonist pass-the reader will take pause
to sift through what they know and question how this could happen.

Your goal as a novelist is to keep the reader reading. If you find it necessary that
two characters know each other at the climax of your story, it has to be done in a
way that makes logical sense to the reader. Even if it's a chance meeting earlier
in the story in which the reader is unaware of a conversation, that's fine. But
somewhere within the story, the reader needs to be able to logically trace back
how the plot twist works based on character relationships.


What They Own
This category and the next are the two that present the most inconsistencies
when writing. If your character loses his dagger in scene five, yet slices his
enemy with it in scene eight, that break in consistency causes the reader to falter
wondering if they missed something.

Tracking possessions prevents consistency glitches. You don't want to lose the
reader as they flip back searching for what they missed. Track what your
character owns and wears. If they have on boots that clack on the hard tile floor
in chapter 1, unless they've changed they shouldn't be sneaking up wearing
moccasins in chapter 4. Or if they lose their jacket, don't make it available when
the temperatures drop. What characters own and use impacts logic.

Donna Sundblad's writing book, Pumping Your Muse recommends keeping a
running list to track pertinent items owned or used by each character. When a
chapter is written, read through it and update your tracking lists. This allows you
to catch inconsistencies when the plot heads in a new or unexpected direction.
Tracking allows wardrobe and possessions to keep up with each change.


What Characters Look Like
Characters evolve. Tracking their physical attributes provides a quick reference
for novelists in the throes of emerging plots threads. Don't stop to wonder what
color eyes-tracking allows the author to glance at the list, add the detail and keep
writing.

Tracking physical characteristics also helps to avoid a blue-eyed character from
becoming a green-eyed vixen later in the story just because green eyes suit her
personality at that point. It's fine to make the change, but tracking not only follows
the changes, but forces the writer to go back and search for any mention of the
physical attribute in earlier chapters. It's necessary to hunt down previous
references making them constant throughout. The goal is consistency.

Traits and Quirks Real people have quirks. Adding small habits and quirky
mannerisms brings realism to your characters. Do they bite their nails? Twirl the
hair at the back of their neck? Stand with slumped shoulders?

Such traits help to paint a personality. Personalities fluctuate but habits die hard.
Track habits and quirks and keep them consistent.

Guest Author Bio: Bryn Colvin is an author of fantasy and erotica books. She is
largely published electronically. When not writing, Bryn is an avid reader, an
active pagan and a folk enthusiast.




































Tips For Writing Fantasy
Writing fantasy opens the window of imagination to fantastic worlds. Do you
aspire to write a fantasy novel, but wonder where to start? Should you develop
characters, the world, or the plot first? Do writers need to develop a complete
outline before they start?

Depending on who you ask, you'll receive a smorgasbord of tips. The key is to
find what works for you, and the best way is to start writing and keep writing.


What Not to Do
Don't try to follow a detailed outline if it stifles creativity of a new plot thread or
character. Remain flexible.
Don't get lost in research. Although research is an important aspect when
writing, don't become trapped in gathering information but never writing the
novel.
Don't go back and edit before you've finished writing a scene.
Keep the names of characters and places pronounceable.


What To Do
The first step to writing fantasy or any fiction is to write. Plan to write regularly.
Set a word count or time limit goal.
Protect your writing time. If you're a morning person, plan to write in the
morning when you're at your best and there's less chance for interruptions. If
you're a night person, turn off those late TV shows and write. Set a writing time.
Even twenty minutes a day four days a week is enough to make forward
progress on your novel. Once you establish this habit, you'll find a desire to write
more.
Turn off your internal editor while writing the first draft.


Outline or No Outline?
Some writers need an outline, other don't use them because the story changes
too much during the writing process. However, a basic outline can keep the story
on target and provide guidance as to where the plot is headed.

Are you a writer who doesn't have an idea of what the story is about other than a
scene or two? Then you can't outline. If that's the case, start writing. Get initial
ideas on paper. This helps to stimulate imagination as characters and the fantasy
world take on life. When scenes spur ideas jot them on a separate piece of
paper. I recommend a notebook to keep your ideas together. At the end of your
writing time, transfer new ideas to an electronic file for easy access. If you're
looking for guidance in this process, Pumping Your Muse by Donna Sundblad not
only offers guidance as to using a notebook to pull your ideas together, but also
provides prompts to initiate new ideas and exercises to help connect plot threads
into a timeline.

If you have an idea for a plot, however basic, write it down. Don't worry about
details until they gel; allow your writing to carry you through the storyline as it
blossoms. It's as much fun as reading a novel-or more because you can make
changes in the plot when a new idea emerges. Characters and worlds offer input
as they interact within your imagination. This input changes the original story line
so that many outlines created before the story started, don't resemble the
finished novel.

Don't worry about developing a complete outline before writing the first words of
your novel. Instead start writing. Let the world and characters evolve. Make notes
and as the story and plot develop, start your outline, but keep it flexible enough to
incorporate new ideas.

Add ingredients to your novel daily by developing the writing habit and your
developing outline will lead the way. Write, write, write. That's the first step in
writing a fantasy novel.