Tag: fantasy

A world of choices and a choice of worlds

A world of choices and a choice of worlds

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This is a strange week. I’ve sent off the third book in my fantasy trilogy to beta-readers. Once I get it back from them I will do the final edits before I send it to my publisher. And that, aside from proofreading the final version, will be that. The Tales of Tarya will be finished. I’ve lived with this world and these characters for a very long time, and I’m about to say farewell to them. Which means I have to decide what to do next. I have quite a few choices.

No spoilers…

I’m going to speak in general terms because, like a lot of authors, I’m superstitious about putting story ideas into the world before they’re properly brewed. So don’t expect any big spoilers about what I might produce next.

Too many choices

One option is to write a full length play based on a ten-minute play I wrote a while back. It’s an intriguing story based on an historical event, and I think it’s extremely relevant to world events. It’s funny how, if you look back through history, you see patterns repeating themselves. I love writing plays. My writing brain thinks in terms of visual images and dialogue, so plays feel very comfortable for me. So this has a lot of appeal.

Another option is to tell the back story related to The Tales of Tarya. As I wrote the third book, Pierrot’s Song, two characters kept appearing at the edge of my thoughts. I could see them very clearly, and they were starting to come to life. Which I think is always a sign that their story might need to be told. They’re figures from Mina’s past, and the events they lived through are vital to my trilogy. The question is, do I want to remain immersed in that world?

The next option is a new YA trilogy set in Australia. I wrote the first book for my PhD. I’m nervous about this one, because since I wrote it, the ‘own voices’ movement has surged. This makes me question whether I have the right to present characters with particular issues that are not (necessarily) my lived experience.

Then I have the first book I ever wrote. Normally these sorts of things should, I think, stay firmly in a bottom drawer, never to see the light of day. Beginner writers make a lot of mistakes. To pursue this choice would take a lot of work. But I think the bones of the story are good. And I think it fits the zeitgeist nicely.

How to choose?

At the moment what I’m doing is dipping my toes in to each of the choices. I’m going back and reading over anything I’ve written so far for each of the projects. I’m also looking at the research I’ve already done for each one. But I don’t think my choice is going to be based on logic. I should probably be asking ‘which one is the most marketable?’ But I don’t think my creativity works that way. Ultimately I’m pretty sure my choice will be based on instinct. Which characters are speaking to me? Which story feels like it is closest to being fully formed? What will engage my passion?

Writing is hard work. Plotting, planning, getting words on the page, editing… it takes time and care. I’m going to have to love this project if I’m going to have the energy and motivation to see it through. So, to throw in another metaphor, I’ll dance with each of these stories for a while, and see which one I’d like to spend more time with. I’m in a strange space of uncertainty, but at the same time it’s exciting. Let’s see where the music leads.

 

Sometimes an ending comes as a surprise

Sometimes an ending comes as a surprise

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Sometimes writers play games with their own minds. They set up little rules. They have superstitions. As I came close to writing the ending of Pierrot’s Song I made a decision. I would write everything but the epilogue. Then I would go back and read all three books again. Only then would I think about writing the epilogue. I wanted to do it justice, and to make sure I wrapped up everything properly.

Photo by ATUL MAURYA from Pexels

Clearly my mind had other ideas. I woke up this morning, far too early, and I could hear the voice of one of my characters in my head. The three books of the Tales of Tarya series are written in the third person. Only the prologue to each book is in the first person. Normally when my characters speak, it is in scenes and dialogue. But this was different. This character had something to say, and I had to get out of bed and write it down immediately.

Avoiding the ending

I’ve been reluctant to write the end of this series. Writing three books is a long journey to undertake. You immerse yourself in a world of your own creation for a long time. It starts to feel as familiar as the real world. My characters are as alive to me as my friends. I know them in that intuitive way where I understand how they will act, without having to think too hard about it.

So I didn’t want to leave them. Saying goodbye is one of the hardest things to do in this life. Especially when you know it is permanent. I remember the agony of farewelling a friend I had met while travelling, not knowing if I would ever see her again since we lived on opposite sides of the world. Of leaving my father’s hospital room for the last time to fly home and go back to work, knowing there wouldn’t be time to come back before he passed away.

I could see the end of my series, drawing closer and closer. And I didn’t want it to arrive.

The unexpected magic of writing

I’m definitely a plotter, not a pantser. Mina’s story is one where secrets are uncovered. There is a puzzle at the heart of Mina’s quest, and only when she solves that can she do what she must. To create a puzzle, you need to plan in advance, planting seeds throughout the books. To uncover secrets you need to hide them, sometimes in plain sight. So I have always known where my final book would end. But writing is not entirely a logical process. Sometimes, perhaps the best of times, the intuitive brain kicks in. You may know what needs to happen, but not the fine detail of how it will happen. I love it when this occurs. But not at 6am!

But there is a story within a story in my trilogy. This is the tale of muses – the inspiration for all creative types. So when the muse tapped me on the shoulder and told me to wake up, I couldn’t really say no.

Finding flow and finding the ending

Photo by Monica Silvestre from Pexels.

So I sat down with a notebook and pen. I didn’t even grab a coffee, because I wanted to capture the words before they dissolved in the morning light. And I wrote. The words ran across the page, paragraph after paragraph. It felt like magic. I knew what I needed to say. I didn’t have to give it any thought. And the ending of my series wrote itself. The voice in my head kept speaking until I had everything I needed written down. And then I was able to get up and start my day.

By doing this I broke my own rule. I still have two scenes left to write in the lead up to the epilogue. But maybe it’s better this way. Because if I had written these words after everything else was complete, I think I’d be feeling terribly bereft now. This is the end of the story after all. The curtain is about to close on the travelling players. But when your central character is a storyteller, I guess you learn some things about storytelling. And one of those things is that a story is a living thing. Sometimes it chooses how it should be told.

 

 

Of unicorns and moonstones: the tale of Winterhued

Of unicorns and moonstones: the tale of Winterhued

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Winterhued: A glorious first novel by E.H. Alger

I don’t normally post reviews on my blog, but occasionally a book crosses my path that I want to share with those who love fantasy as much as I do. Winterhued is one such book.

The path to discovering independent authors is difficult. Their books aren’t easily available in book stores. Online search results are weighted towards known books. Sometimes a little luck and a dash of magic are needed to uncover new and wonderful writing.

A dash of magic…

Since the publication of Harlequin’s Riddle I’ve attended various festivals, conferences and markets. Recently I attended Golden Owl Event’s Mythical Market, a magical day out in the Dandenong Ranges. Stallholders and market-goers alike wore costumes: there were fairies, unicorns and other mythical beings roaming everywhere.

One attendee wore an outstanding steampunk outfit. Being a costumer myself I couldn’t help but admire her costuming skill. The conversation soon turned to books, and how difficult it is to be noticed as an author when you aren’t published by one of the big publishers. We each talked about the stories we had written. Before I knew it, I was holding Winterhued in my hands.

First impressions

Winterhued is a stunning book. At 464 pages and trade paperback dimensions it feels solid, promising a substantial read. The cover is immediately intriguing. A tired looking knight seems to be returning from weary travels, and a looming dragon perches, almost camouflaged, above the broken window. Illuminated scrollwork decorates each chapter title. Section dividers depict various characters and items that appear in the book. And, like all good fantasy, there is a detailed map to orient the reader to the world.

Before turning to novel writing, E.H. Alger worked as an illustrator for many of the big publishing houses, and her eye for design is evident in the beauty of this book as a physical artifact.

The tale of Winterhued

Princess Winterhued lives with her father in Castle Lawhill. Though she is wise and just, loved by her people, her father is self-centred and bitter, clinging to the throne to the detriment of all. King Gers is a despot, unable to accept his waning faculties. Worse, his advisors are trying to turn him against his daughter. He is even considering taking a new wife in hopes of fathering a male heir.

When an unseen creature attacks the castle matters the conflict between Gers and his daughter worsens. Half the castle lies in ruins and many of its people are dead. Strong leadership is needed, but Winterhued’s father can think only of himself, and undermines any of his daughter’s efforts. It soon becomes apparent that the whispers are true. The castle was attacked by a dragon, and the beast is still in the area. Trapped within the broken castle, Winterhued seeks help from a lowly servant-boy. Her plan might be their only chance to escape alive.

Fantasy that takes its time

Writing, as with food and fashion and home decorating, has waves of fashion. What is being published now tends to be minimalist. Publishers tell aspiring authors to delete all adverbs, avoid long descriptions, and dive straight into the action. Stories move at a fast pace. Once upon a time fantasy wasn’t like this. It took its time. It lovingly built worlds and drew the reader deep into them. Reading fantasy such as that by Tolkien was like going on a boat journey. Part of the pleasure was in the travel. Now, we often fly by plane when we read, racing through the story at speed.

A moonstone pendant plays an important role in the story. Image by Stefan Schweihofer from Pixabay

Winterhued is a novel in the best tradition of Tolkien-esque fantasy. The world is lovingly, carefully wrought. A dazzling cast of characters people the land of Manydown. The reader has to pay careful attention to understand who is who and how they are connected. At first the tale moves around the castle, showing the experiences of those who have survived the dragon’s attack. Like a tapestry woven from many bright colours, the pattern is indiscernible at first. Patience is required as the field is prepared, then the picture starts to emerge, layer upon layer.

Questions arise as the elements of the story are laid down. What is the significance of the moonstone necklace? Who is the unnamed knight who is making his weary way towards Lawhill? What is the hidden grief in Winterhued’s heart? Finally, in the most satisfying way, the whole becomes clear.

A tale to cherish

Being used to more minimalist modern fantasy, it took me a few chapters to acclimatise to a book with a different pace. Initially I struggled with the use of medieval-style dialogue. But the beauty of the writing quickly drew me in and I found myself immersed more and more in the tale. I wasn’t reading to reach a destination, the denouement of the story or the solution to the mystery. I was reading because I cared deeply about Winterhued and Brenn, Ancaios and the unnamed knight. Because the land of Manydown had come alive in my mind. And because every word, every chapter was a joyous pleasure. And that, I think, is true magic.

Reflect or correct: What is the role of the author?

Reflect or correct: What is the role of the author?

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I’ve been reflecting recently on a book review that was critical. The reviewer argued that I was irresponsible for the way I’d handled a particular scene. This made me think about the role of the author in writing difficult things. Should they reflect the world as it is, with its ugliness and chaos and lack of resolution? Or should they correct the problems of the world, perfecting them? The answer, of course, is complex, and depends very much on all sorts of factors, including genre. I could write a whole paper on this, but in the interests of keeping things short, I’ll address a few key points.

The power to change the world

I think the reason a lot of writers write is so they can change the world. They want to correct the problems they see around them. These might be personal experiences that they wish had happened differently, or broad social issues they want to address. A good area for authors to ‘correct’ is in diversity. For too long books have not reflected the real world, in terms of race, disability, gender and other differences. Authors can use their power to ensure it is not only middle class white people (generally men) in stories who have autonomy. They can create characters of all kinds, without stereotypes. Even in a genre like fantasy, places and people can be written as complex and nuanced, like the real world. To correct in this way is definitely worthwhile and important.

When it comes to events within a story though, there are some risks in over-correcting. Stories aren’t true. But they need to seem true. So the world in your book needs to seem convincing. It needs to reflect the real world to some extent. Even if it’s fantasy. Bad things do happen to good people and sometimes those people, or the people around them, don’t respond in the best ways. Writing a good character means giving them complexity. Writing a good plot means you don’t solve a problem straight away. If your villain immediately faces consequences for his actions, he’s not a very good villain. If you pose a problem, and immediately resolve it, there’s no tension in your story. If your character is always strong and demands justice, they’re not a real person, they’re a superhero.

Politics or story telling?

Why do people pick up a novel? Kafka says “a book should be an axe for the frozen sea within us”. He was talking about writing books to awaken emotional responses, not to enlighten us politically. In novels, readers connect with characters, not political ideas. As a writer my aim is to write scenes that will make readers feel something, not scenes that will politicise them. Books are great for creating empathy. But to create an emotional response you need to connect with the reader. This won’t happen if your scenes aren’t realistic. The scene in my book is true to life, and true to the characters involved. If I were to write it differently in order to responsibly reflect how this sort of thing should play out, I wouldn’t be writing a novel, I’d be writing a training manual. 

Trust the author

My final point is that it is important to trust the author. Writing a novel is about selection. As a writer you decide what to include and what to leave out. And what is included is there for a reason, if you know what you are doing. The reader doesn’t always have the full picture until the end. This is particularly true of a trilogy. Not everything will be resolved, or even revealed, in the first book. And even more true of a mystery.  A mystery has hints and clues that may look irrelevant, but may be very important later on. Look at the way JK Rowling revealed Rowena Ravenclaw’s diadem in one of the early Harry Potter books. It seemed like an aside, a meaningless incident, but it wasn’t. Sometimes if you wait, you learn not everything is as it seems…

 

 

Building a gypsy wagon: the things writers do…

Building a gypsy wagon: the things writers do…

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Why create a gypsy wagon? Well, the biggest problem I’ve had with promoting Harlequin’s Riddle is that a lot of people don’t know about the Commedia dell’Arte, the travelling players of the Italian Renaissance. So when I say that’s what my book is about I get blank looks. BUT I’ve worked out that everybody knows what a gypsy wagon is. In fact, a quick search of Pinterest reveals heaps of images of gypsy wagons. A lot of people seem to have the same dream as me, which is basically to run away, go on the open road, get away from responsibilities etc.. No housework! The Tiny House movement seems to be the modern incarnation of this gypsy dream.

So to get over the Commedia problem, I figured using a gypsy wagon as a prop might be a good approach. Instead of ‘Commedia’ I can say ‘actors who travel around in gypsy wagons’. Over the next few months I’ll be having stalls at several conventions and writers festivals. My hope is that having a gypsy wagon on the table will open the door to conversations about the travellers in Harlequin’s Riddle.

Building it has been a lot of fun. I ordered the design from an online company in the US. This meant I could download it and get it printed in Australia. Since postage is crazy from the US, this was a great way to save on costs. The company we used was incredibly quick (thank goodness!). Then began the process of putting it together.

  1. The first stage was working out what each piece was, and how they fit together. I also had to work out what had to be done in what order, and devise a colour scheme. Pinterest was great for inspiration. Gypsy wagons are so colourful! I chose traditional colours for the outside. For the inside I let my internal fantasy author free, choosing my favourite colours of purple and aqua.
  2. I painted the gold scrollwork first. The design for this was etched on the wood, so if I painted a basecoat first I would cover it up. Doing it the other way round meant I had to fill in the wall colour around the gold with a very fine brush. Luckily, doing things in this order worked.
  3. Once I’d painted all the walls, I painted the trim. This included the window frames and other decorative features. Gypsy wagons use a lot of decoration. Each major wall had a little flower set into it with holes punched out. I used a clear lacquer called Crystal Effects to fill these holes, then painted over it with iridescent and gold nailpolish for a stained-glass effect. I tried doing the nailpolish on its own first, and it just fell through so I had to modify my technique!
  4. Once the painting was complete, I used scrapbooking papers to add more scrollwork around the windows and doors. I also added a decorative cornice on the two long internal walls with scrapbooking borders. To satisfy my own gypsy soul I created a feature wall using beautiful Florentine paper decorated with birds and butterflies. I also added a picture frame. This was my favourite part of the process.
  5. Now it was time to put it all together. The bench and table were first, then the external walls. The roof is detachable.
  6. A few final touches were needed. My husband is a tabletop gamer, so he knows some great techniques for model building. He used babywipes dipped in glue (mixed with colours) to create the blue tablecloth and yellow curtains. When they set they look like fabric. He created tiny rails to hang the curtains off. I created a pennant and hung it off the outside. I have played around with resin before, so I had a bottle and a cake that I placed on the table. (Here’s food I prepared earlier!) Using more papercraft supplies, I created a vase of flowers for another dash of colour. The last touch was a scroll. Although the travelling players in my book don’t use scripts, they might have scenarios written down, or sketches for costumes.

It may seem like overkill to build a whole gypsy wagon to promote my book. Most authors just print bookmarks or business cards. But as a very introverted introvert who has a deep horror of marketing, having something I can talk about when I’m out and about will be great. Plus I now have my own beautiful wagon to keep, although it’s not quite big enough to run away in. If you want see it in real life, check out my appearances page and come and say hi at one of the upcoming bookish events.

(By the way, one theory is that gypsies originally came from India. Aspects of gypsy culture may reflect Hindi beliefs and practices. And, having been to India three times, I can definitely say the way trucks and buses are decorated even today is reminiscent of gypsy wagons.)
Flow as a Doorway to Magic

Flow as a Doorway to Magic

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Harlequin’s Riddle is not your typical fantasy. There’s actually not a droplet of magic in it. Mina, the central character, doesn’t learn magic. There is no speaking of spells, hand waving or use of wands anywhere in any of the books.  There are some fantastic books out there that use this sort of overt magic. But I went in a different direction. What interests me is thinking about what magic already exists in the world. We forget how incredible life is, taking for granted all the wondrous things that happen every day. This is especially true for people. Their minds are complex, their lives are fascinating and their achievements can be staggering.

I’m particularly interested in creativity, and how that shapes people. Or, as becomes evident in my book, how people use their creative abilities to shape the world. Art, in whatever form, can change the way we think about things. It can take us out of the moment, transporting us so completely that we forget who we are. It can help us to empathise and connect with others, or heal long-held hurts.

About Flow

In my explorations in creativity over the years I’ve noticed a recurring theme, which is that when people do their creative practice, whatever that might be, they go into a different state, or mindset. Mihaly Csikszentmihalyi, a psychology professor, calls this state ‘flow’. In this state creators become completely absorbed in whatever they are doing. The requirements of the real world (food, ego etc.) fall away in place of a sense of fulfilment. This state can be very productive. Csiszentmihalyi also says the “whole being is involved”.

Flow and Writing

Many writers have had the experience of working on a piece, and having some sort of inexplicable or unusual experience, such as a character ‘coming to life’ and taking control of the story. Or writing about a place they’ve never been to, only to discover when they get there or see photos of it that they’ve described things with an uncanny accuracy. This is what fascinates me about flow – what if it is an opportunity to tap into a different mental state that links you in some way to something bigger than yourself? This was an idea I wanted to play with in my book.

Flow in Tarya

In Harlequin’s Riddle I take this idea of flow as a starting point to the fantastical elements of the story. Rather than a doorway to a different mental state, creativity becomes a literal doorway – to a place called Tarya. It is a place that sits beside the real world. There are spiritual aspects to Tarya, but it is not just a separate realm, like heaven. Events that happen in Tarya can have an effect on the real world. Mina, the central character of the book, discovers she is able to reach Tarya when she tells stories. But more importantly, she is able to bring aspects of her stories into being for her audience.

Writers are endlessly fascinated by the writing process. Sometimes it can definitely feel like it is magic. Having a heroine who can do interesting things with her stories is so much fun as a writer. I’d like to think there’s a little bit of me in Mina – or a little bit of Mina in me. But she may have other ideas…

If you’d like to learn more about Mina’s abilities, sign up to my email list (see the bottom of the page) and I’ll send you a free short story that tells you Mina’s back story.

 

 
An Interview with Sophie Masson

An Interview with Sophie Masson

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I’m very excited that today’s post is an interview with prolific award-winning author and publisher, Sophie Masson. I plan to do one interview a month with an author that I believe brings magic into the world with their writing. I can think of no better place to begin than with Sophie, who has a fascination with fairytales and myths and has written many truly magical books. Her stories have enchanted readers of all ages across a range of genres. She will be appearing at the Historical Novel Society of Australasia Conference this weekend, for which she is the conference patron. This will be an exciting weekend of workshops, talks and panels focused on historical fiction (I’ll do a wrap up of the conference next week.) Sophie’s generous endorsement of Harlequin’s Riddle has encouraged readers to pick up my book, for which I am enormously grateful.

You can find out more about Sophie in her own words on her website and blog or on Facebook or Twitter.

About Sophie

Born in Indonesia to French parents and brought up in Australia and France, Sophie Masson is the award-winning, internationally-published author of over 60 books, for children, young adults and adults. Her latest books include the YA historical thriller, Jack of Spades, two picture books, Two Rainbows, illustrated by Michael McMahon, and Once Upon An ABC, illustrated by Christopher Nielsen, and the adult paranormal thriller duology, Trinity: The Koldun Code and Trinity: The False Prince, set in modern Russia.

Which writer or writers opened your eyes to the magic of storytelling and why?

Glad you asked for writers in the plural ? So many of these opened my eyes to storytelling magic when I was a child: the great tellers of fairy tales, for instance, Grimm, Perrault, Andersen, Madame Leprince de Beaumont(of Beauty and the Beast fame), the anonymous tellers of the Arabian nights…And then, writers ranging from CS Lewis to Tove Jannsson, Nicholas Stuart Gray to Jules Verne, Alexandre Dumas to the Countess de Segur, Herge(of Tintin fame!) and Goscinny and Uderzo(of Asterix fame!); Alan Garner, Paul Berna, Enid Blyton, Patricia Wrightson..and many many many more! On my blog I’ve written about five of my favourite childhood books—the list is huge but I just selected these five and wrote about why I loved them: in all of them, storytelling is a huge ingredient, as is magic and adventure.

Why do you think people need stories in their lives?

Because otherwise they wither inside…I think it’s an essential factor in making us human. Without stories, not only is it hard to make sense of the world, but also of ourselves. It really annoys me when people say things like, ‘Oh, that’s just a story!’ There is no just a story. Of course not all stories are equal and some can be used to bad ends as well—but they are powerful things, never to be underestimated.

What is your greatest magical power as a writer?

Being able somehow to make creatures of paper and ink feel like creatures of flesh and blood: to make strong, vivid characters in a believable world, even when it’s fantasy…I feel so absolutely lucky that I was given this gift…so grateful I can do what I was born to do and help to weave my little corner of the world’s stories.

Which mythic archetype or magical character most resonates with you and why?

I am fascinated by shapeshifters… I am also really interested in ‘halflings’—changelings, people in between worlds, who sometimes don’t fit in and sometimes do—This fascination could have something to do with the fact that as a child growing up in two worlds—a French speaking one at home and an English speaking one at school—I felt a bit like a changeling or a shapeshifter I guess ?

What themes or ideas do you find keep arising in your writing?

Love, betrayal, courage, friendship, creativity…and dangerous choices. Always dangerous choices!

Bio

Rachel Nightingale is a writer, playwright, educator and actor. With a passion for story telling and the theatre, it was only natural that her first fantasy series would centre on both. She lives in regional Australia with her family, a very bossy cat and the cutest dog in the world. She is represented by Creative Net speakers.

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