As a keen reader, author and editor, if there’s one thing that gets my goat about some paranormal shifter stories, it’s the representation of the big cats as pack animals, as though they were wolves. Big cats are not wolves and their social structure is very different.
I am a South African who has always been fascinated by the big cats of my land of birth. I’m understandably quite passionate about this topic. I’ve been fortunate enough to go on a number of game drives. I’ve spoken at length with game rangers and folks involved in big cat conservation. Hell, for a long time I was even planning on taking up a career as a game ranger, so I consider myself relatively well informed on the ins and outs of Mother Nature.
So, here’s my take on wild kitties, running through some of my favourite felines.
LIONS
Majestic hunters, lions are probably the most social cats, and the closest you’ll get to a “pack” cat. In this case, it’s a pride of lions, not a pack. Their social structure is hinged around a dominant male or pair of brothers, who stake out a territory and are attended to by a grouping of lionesses, who are generally related to each other as mothers, sisters, daughters and aunts. The males make sure no other males encroach on their territory. The females tend to do most of the hunting (lucky men!) and the boys get exclusive rights to mate with the females. When rogue lions do encroach, serious fights occur and if an existing lion is ousted, the new male will come in and kill all the youngsters the old lion sired so that the females will come into oestrus sooner. Sounds harsh? That’s nature. She’s red in tooth and claw.
Oh, and here in Africa, spotted hyenas and lions are mortal enemies because they’re competing for the same prey, so there’s another interesting dynamic to follow if you’re looking for a good point of conflict for your shifters.
LEOPARDS
Leopards are solitary. They’re also very elusive. Males tend to maintain the largest territories overlapping with those of a number of females but they usually don’t hang out together unless they’re, well, getting down to do the dirty. It goes without saying that lions (and other predators) will kill a leopard’s young if they find them, hence the reason why leopards tend to den in inaccessible areas and tree their kills. Did you know one leopard can carry an antelope that weighs almost as much as it does into a tree? A female tends to raise between one and three cubs, who stay with mom until they are able to hunt, but when she’s ready to raise the next cub, the elder cub has to go on out and find his or her own territory. That’s just how the cookie crumbles.
CHEETAHS
I absolutely adore cheetahs. They’re possibly one of the most underrated species I’ve yet to see in shifter novels. The fastest land mammal, they’re capable of speeds of up to 120kmph (75mph), which they can maintain for short bursts. They tend to borrow the best of being sociable with being solitary. Siblings will often band together shortly after going out to find their place in the world, so you’ll have a pair of brothers or sisters teaming up and co-operating for a while until they’re established. Mom tends to raise her cubs on her own, and will have anywhere between one and five (yes, five!) youngsters. Problem is they’re incredibly vulnerable to pressure from other predators. Often lions and other predators will drive them off their kills. More dog-like than feline, cheetahs have historically been kept by royalty and used for hunting. They hunt chiefly by sight, stalking prey up until a point where that critical short burst of super speed will prove an advantage against the gazelle or prey animal they want to take down.
PLOT BUNNIES
As an editor, here are some plot bunnies I’m setting loose into the wider world. What if a pride of lion shifters runs a small town and a rogue male decides he’s going to take on the big cat in charge? What unique challenges does a young male lion shifter face when dad tells him it’s time to leave the home range? How does a female lion shifter deal with the situation when her lion man gets ousted? How about a lion shifter who’s a gang lord? Or a fun-loving rogue male who gets into way more trouble than he’s capable of dealing with?
What if a leopard shifter hasn’t found one of her kind in more than five years? What if someone starts bumping off the few leopard shifters who are known to maintain a large selection of territories? How do two leopard shifters resolve a territorial conflict? Leopard shifters could be awesome private investigators or thieves. Can anyone say “Catwoman”?
And here’s one that made me laugh: what if a cheetah shifter becomes a famous catwalk model? (I’m almost begging for a submission from an author for this one.) What about two cheetah shifter brothers who go out into the world for the first time and have to work together to solve a mystery? How does a cheetah shifter deal with a pushy pride of lions? How about the cheetah shifter who is employed by a business tycoon to act as a spy or even an assassin?
THE BEST OF BOTH WORLDS
Our shifters stand with their paws in two worlds. I often feel that innate wildness, that frisson of danger when associating with these creatures, is often lacking in shifter stories. Get to know the animals you want to portray then find ways to marry their true nature with the human side so that you can build a complex and fascinating creature that marries the best aspects of both species. I feel of late too much emphasis is placed on just the “finding mates” theme. Boinkfests can be fun but, really, I’d like to see more.
What sort of spirituality would big cat shifters have? Think beyond the obvious Lady Sekhmet or Bast of Egyptian cosmology.
There is so much more to play with if we would just look deeper and conduct more research. Shifters as protagonists can do so much more than just have absolutely earth-shattering encounters of a carnal kind. I’m not saying we should cut back on erotic content. Cats are amazingly sensual creatures but hell, we’re missing out on an epic adventure.
And, as an aside, I suppose I’m adding that yes, I’d love to chat to authors about a shifter novel with a difference, so drop me an email at nerinedorman@gmail.com if you’ve an idea or two.
Showing posts with label paranormal writing. Show all posts
Showing posts with label paranormal writing. Show all posts
Tuesday, September 21, 2010
Tuesday, June 29, 2010
So, now you're published...
What I love about urban fantasy and paranormal stories is that, well, just about anything can and does happen. Whether you're writing a crime thriller or a steamy romance, the weirdness factor often takes the tale in a completely unexpected direction.
And more often than not, I reckon, we authors get a little carried away with our inventiveness to the point that we ignore the fact that we should constantly be looking for ways to improve our writing.
Being in the situation where I wear both an editor's and writer's hat, I know what it's like on both ends of the spectrum. As an author, I love it when I receive reader feedback telling me that book two is an improvement on book one. As an editor, I'm absolutely thrilled when I receive a submission from one of my existing authors and I can see she's improved vastly in her writing since her previous manuscript.
So, as an author, what can you do to improve your writing?
1) Read widely, and outside your genre. Don't just read the kinds of books you write. Do your writing a big favour and read books by authors who are considered classics. Who are the Beat writers? How about some Tolstoy? Yes, I can see you rolling your eyes but much like eating your greens were good for you as a child, this is the kind of writing that's going to open your eyes to a world of possibilities that can only enrich your style.
2) Take your editor's words to heart. Contrary to popular belief, your editor is not "out to get you". Often underpaid, she's most likely only doing her job because she's passionate about it. Many editors for small presses have demanding day-jobs on top of wrestling with words after hours. Trust me, I'm not doing my stint for my health. There's nothing more satisfying than seeing an author twig how to curb her little writing gremlins and make an honest effort to improve. Similarly, authors who rush through manuscripts, who are resistant to good advice, make editors weep. We have so little time, rather work with us to make your writing so much better. Although we are only human, we take pride in our work and want to see you become better at what you do.
3) Find a dedicated group of beta readers. This may be as simple as getting hold of other authors who publish the same genre through your one of your publishers. Take the chance to get to know these people then find out if they'll scratch your back if you'll scratch theirs. Hell, start a writers' group if you must. It's really not difficult. Feedback from people who are at the same or slightly different level to you is often invaluable. I would be lost without my dedicated group of betas and although I don't always follow their advice to the letter, they often offer me valuable insight into my writing depending on their viewpoints.
4) Read blogs, follow tweets. You may not take the internet all that seriously, but if you know where to find the information, there are scores of blogs out there by authors, editors and agents, who share valuable information about the industry. I only wish I had had these resources when I was growing up and I had to bump my head quite a few times before I finally started getting to the point where I could fumble my way around the submissions process. You really don't know how lucky you are. (Yes, I'm that old.)
5) You're never too old to learn. This last point is perhaps the most important. If you can admit that the old dog is never too old to learn tricks, you've equipped yourself with one of the most important tools to becoming a successful and better writer. Never stop learning. Never be too proud to take criticism. Never be too wise to apply new technicques to your writing.
And more often than not, I reckon, we authors get a little carried away with our inventiveness to the point that we ignore the fact that we should constantly be looking for ways to improve our writing.
Being in the situation where I wear both an editor's and writer's hat, I know what it's like on both ends of the spectrum. As an author, I love it when I receive reader feedback telling me that book two is an improvement on book one. As an editor, I'm absolutely thrilled when I receive a submission from one of my existing authors and I can see she's improved vastly in her writing since her previous manuscript.
So, as an author, what can you do to improve your writing?
1) Read widely, and outside your genre. Don't just read the kinds of books you write. Do your writing a big favour and read books by authors who are considered classics. Who are the Beat writers? How about some Tolstoy? Yes, I can see you rolling your eyes but much like eating your greens were good for you as a child, this is the kind of writing that's going to open your eyes to a world of possibilities that can only enrich your style.
2) Take your editor's words to heart. Contrary to popular belief, your editor is not "out to get you". Often underpaid, she's most likely only doing her job because she's passionate about it. Many editors for small presses have demanding day-jobs on top of wrestling with words after hours. Trust me, I'm not doing my stint for my health. There's nothing more satisfying than seeing an author twig how to curb her little writing gremlins and make an honest effort to improve. Similarly, authors who rush through manuscripts, who are resistant to good advice, make editors weep. We have so little time, rather work with us to make your writing so much better. Although we are only human, we take pride in our work and want to see you become better at what you do.
3) Find a dedicated group of beta readers. This may be as simple as getting hold of other authors who publish the same genre through your one of your publishers. Take the chance to get to know these people then find out if they'll scratch your back if you'll scratch theirs. Hell, start a writers' group if you must. It's really not difficult. Feedback from people who are at the same or slightly different level to you is often invaluable. I would be lost without my dedicated group of betas and although I don't always follow their advice to the letter, they often offer me valuable insight into my writing depending on their viewpoints.
4) Read blogs, follow tweets. You may not take the internet all that seriously, but if you know where to find the information, there are scores of blogs out there by authors, editors and agents, who share valuable information about the industry. I only wish I had had these resources when I was growing up and I had to bump my head quite a few times before I finally started getting to the point where I could fumble my way around the submissions process. You really don't know how lucky you are. (Yes, I'm that old.)
5) You're never too old to learn. This last point is perhaps the most important. If you can admit that the old dog is never too old to learn tricks, you've equipped yourself with one of the most important tools to becoming a successful and better writer. Never stop learning. Never be too proud to take criticism. Never be too wise to apply new technicques to your writing.
Tuesday, June 22, 2010
It's been unleashed upon the world...
I'm not going to blog for long today save to give a small update about my latest urban fantasy release, Khepera Redeemed, book two of the Khepera series (Lyrical Press, Inc.) which was released yesterday.
Because I'm a bit stressed out of my skull at the moment, I elected to have a small, intimate book launch among close friends and acquaintances at Roxy's Cafe on Dunkley Square in Gardens, near the Cape Town CBD. A word on Roxy's... It's one of the few venues in the Mother City that captures the spirit of the Cape Town I knew while growing up, and the Cape Town James Edward Guillaume of the Khepera series belongs to.
Bohemian doesn't even begin to do it justice. It's a mixture of Victoriana and retro, with that particular spirit of "hey, it's all good" which is peculiar to the late 1980s-1990s generation. (Yes, I'm that old).
Speaking of the spirit of a city that has inspired my writing, I wish to speak of a person, who pretty much summed up the soul of Long Street. I pause to remember Leonard Wichtman, aka Uncle Lenny, or the Metal Moffie, a rather colourful character and one who summed up the era I grew up in. He passed away last Thursday. I bumped into him only the day before, as I did almost every other day.
RIP, Lenny, you are much loved and sorely missed. You never had any ill to speak of anyone and even though you probably suffered a lot, you never complained. You never failed to cheer up my day and you always had a spare hug for me and a few words to make me smile. Travel safe, old friend. I will always hold a special place for you in my heart and trust me, I will find a way to immortalise you in my writing.
Tuesday, June 1, 2010
A point on the third
AS an author and editor, I’m pretty diverse. I don’t have an absolute preference for first- or third-person points of view in fiction. I’ll happily write a first-person, present tense urban fantasy drama one day and, the next, fall into third-person, past tense during the next. All I ask is that I am immersed in a character and that I can see, taste, touch, hear and feel what the character is doing.
This is what is known as a deep point of view.
Let’s consider the following passage:
Tommy crossed the field, hurrying in the direction of the big red barn. Here he discovered what remained of the brown hen, the wereweasel’s tracks clear around the mangled remains.
Sure, it tells a passable story from a third-person point of view but, you know what? I see dozens of authors whose writing is this lack lustre. As an editor, I’ll pass on this one because a) I’m not engaging with the character and b) the story is very “telly”. Nothing really happens to motivate me, as a reader to want to read more.
Now, consider the same story written in a deep third-person point of view:
Tommy felt the first stirrings of unease as he crossed the field, the dew clinging to the long autumn-browned grass dampening the legs of his jeans. Ahead, the bright red of the barn’s painted wooden walls screamed an obscenity against the sky and he quickened his pace. The interior of the building was dim, smelling of musty straw, and it took a moment for his eyes to adjust to the low light. The scraggly heap of bones and feathers in the centre of the floor was all that remained of the brown hen. Tracks as large as his own, but with longer toes and the obvious marks of talons, circled the remains. Tommy swallowed hard. The wereweasel had struck again.
Okay, so which version of the story did you prefer reading?
Unless you have the pulse of a lump of rock, you most likely engaged more with the second version, which gave a better idea of Tommy’s world, allowing readers to experience sensually from his point of view.
Writing a story is not just about putting words down. It’s about capturing your readers’ imaginations, about transporting them to a world where they can be a cool vampire police detective or a werewolf with a vendetta. People want to feel that, for a short while, they can forget about the world around them, about the bills that need paying, the annoying landlady or the mother-in-law who meddles.
As a writer you’re in the business of creating worlds for other people to enjoy. Granted, yes, part of what you do is for yourself, to please yourself while writing. But if you’re serious about getting published, you’re going to have to make damn sure your prose sings.
Make editors, agents and readers fall in love with your world by showing it to them, not just telling it to them.
This is what is known as a deep point of view.
Let’s consider the following passage:
Tommy crossed the field, hurrying in the direction of the big red barn. Here he discovered what remained of the brown hen, the wereweasel’s tracks clear around the mangled remains.
Sure, it tells a passable story from a third-person point of view but, you know what? I see dozens of authors whose writing is this lack lustre. As an editor, I’ll pass on this one because a) I’m not engaging with the character and b) the story is very “telly”. Nothing really happens to motivate me, as a reader to want to read more.
Now, consider the same story written in a deep third-person point of view:
Tommy felt the first stirrings of unease as he crossed the field, the dew clinging to the long autumn-browned grass dampening the legs of his jeans. Ahead, the bright red of the barn’s painted wooden walls screamed an obscenity against the sky and he quickened his pace. The interior of the building was dim, smelling of musty straw, and it took a moment for his eyes to adjust to the low light. The scraggly heap of bones and feathers in the centre of the floor was all that remained of the brown hen. Tracks as large as his own, but with longer toes and the obvious marks of talons, circled the remains. Tommy swallowed hard. The wereweasel had struck again.
Okay, so which version of the story did you prefer reading?
Unless you have the pulse of a lump of rock, you most likely engaged more with the second version, which gave a better idea of Tommy’s world, allowing readers to experience sensually from his point of view.
Writing a story is not just about putting words down. It’s about capturing your readers’ imaginations, about transporting them to a world where they can be a cool vampire police detective or a werewolf with a vendetta. People want to feel that, for a short while, they can forget about the world around them, about the bills that need paying, the annoying landlady or the mother-in-law who meddles.
As a writer you’re in the business of creating worlds for other people to enjoy. Granted, yes, part of what you do is for yourself, to please yourself while writing. But if you’re serious about getting published, you’re going to have to make damn sure your prose sings.
Make editors, agents and readers fall in love with your world by showing it to them, not just telling it to them.
Monday, April 19, 2010
Didn't you already know that?
I spent a good chunk of this past weekend at the Black Hills Wholistic Health Expo. Part of me attended because it was something inexpensive to do. The admission price was just $2, so it was more than affordable.
The Expo offered so many amazing booths from the local food co-op to a few of the chiropractors in the area. There were also a variety of "readers" available -- some who used tarot or oracle cards, some who just used their intuition.
Both my daughter and I got readings (separately and from different people) while we were there. As we were getting ready to leave, we were stopped by one of my former bosses. He has since left the field we were in and is pursuing his "otherworldly talents." He's doing pretty well for himself, besides!
Anyway, he was teasing my daughter about "psychicly cheating" on him and asked my kiddo how her reading went. As she relayed information about her reading, he asked one important question: "But didn't you already know that?" She looked at him with all her almost-17-year-old wisdom and said, "yeah, I guess I did."
Isn't that the way that is, though? Sometimes don't we need that extra "kick in the pants" to get us moving? Why is it that our own problems seem so insurmountable, yet the problems of others are simple to solve?
I think that's why I enjoy mysteries -- both writing them and reading them. I'm able to put my own problems and issues aside for a bit. Wouldn't it be nice if everything could be neatly wrapped up in 200 or so pages? Or if you could hear the creepy music right before you did something stupid? I can clearly see in someone else's life what I struggle with in my own.
Perhaps that is why I write paranormal mysteries. Even though my characters are mostly "normal" (and I use the term loosely!), they need some extra guidance. They need to know that they can believe their intuition.
But, frankly, they already knew that.
Blessings!Nichole
Tuesday, March 23, 2010
Why genre fiction?
I've reached one of those patches in my life where I ask myself: "Why do I write genre fiction?"
That nasty little voice at the back of my head keeps reminding me I could enrol at the local university's MA in creative writing programme, where the likes of the great Andre Brink or another South African literary giant could possibly become my mentor. Thirty thousand rand over two years is not a lot of money in the greater scheme of things (about $3 000).
I could go onto being published by Penguin or some other very big local publisher and garner some serious notice in my home country. People could buy my books at Wordsworth or Exclusive Books, and I could have book-launches at The Book Lounge or the rather indie (and very jooje) Kalk Bay Books.
And I'd probably be trying to write yet another post-apartheid South African novel featuring disenfranchised European Africans moping about in a country that doesn't want them any more.
No.
No.
No.
That's far too depressing.
Every so often, I write a story where a vampire happens to sneak in. Or a plucky werewolf... Or, the gods forbid, zombies. My recently sold novella, The Namaqualand Book of the Dead is, for all intents and purposes, literary travelogue with a dash of fang. And I'm still LOLing at the agent who told me I'm "too literary" for genre fiction.
You know what? I don't care. I write what I write, when I feel like it, and the rest can go to Hell in a handbasket. I'll give a nod to William Burroughs, add a dash of Gaimanesque weirdness, and present my readers with something that is truly my own. Sure, there's some post-apartheid wangst, as well as a little bit of mystery, but there's a whole lot of the magic of not knowing quite what sort of entity is waiting around the corner.
That nasty little voice at the back of my head keeps reminding me I could enrol at the local university's MA in creative writing programme, where the likes of the great Andre Brink or another South African literary giant could possibly become my mentor. Thirty thousand rand over two years is not a lot of money in the greater scheme of things (about $3 000).
I could go onto being published by Penguin or some other very big local publisher and garner some serious notice in my home country. People could buy my books at Wordsworth or Exclusive Books, and I could have book-launches at The Book Lounge or the rather indie (and very jooje) Kalk Bay Books.
And I'd probably be trying to write yet another post-apartheid South African novel featuring disenfranchised European Africans moping about in a country that doesn't want them any more.
No.
No.
No.
That's far too depressing.
Every so often, I write a story where a vampire happens to sneak in. Or a plucky werewolf... Or, the gods forbid, zombies. My recently sold novella, The Namaqualand Book of the Dead is, for all intents and purposes, literary travelogue with a dash of fang. And I'm still LOLing at the agent who told me I'm "too literary" for genre fiction.
You know what? I don't care. I write what I write, when I feel like it, and the rest can go to Hell in a handbasket. I'll give a nod to William Burroughs, add a dash of Gaimanesque weirdness, and present my readers with something that is truly my own. Sure, there's some post-apartheid wangst, as well as a little bit of mystery, but there's a whole lot of the magic of not knowing quite what sort of entity is waiting around the corner.
Tuesday, March 16, 2010
A World of Conflict
When last did you read a book where absolutely nothing happened? A bunch of cool characters with "speshul" (insert trademark) powers mope about trying to convince everyone how cool they are. I don't know about you but I'd get bored pretty quickly.
In most paranormal thrillers or urban fantasies, conflict and its resolution are the keys to a story that keeps the pages turning.
In my role as editor, I see lack of any real conflict one of the biggest reasons why I reject a submission. As an author, I don't even dream of putting pen to paper unless I have a very clear vision of the problems a protagonist will have to overcome before they have their HEA... or not.
First off, there will be the exterior conflict that happens. The proverbial paw-paw that hits the fan and the events a protagonist has absolutely no control over. This could be a maurauding pack of werewolves, a vampire who's gone on a killing spree... Angry undead spirits... Invariably our intrepid protagonist will be wound up in these events and half the fun is not knowing why at first, then seeing how the protagonist gets his or her hands dirty and (it can be hoped) defeat the opponent.
But hell, plain old external conflict is darn boring without some sort of internal conflict. Maybe the protagonist's erstwhile lover got chomped by werewolves, or a beloved aunt drained dry by Dracula's second cousin. Whatever the internal conflict is, it should relate to why the protagonist will have either special knowledge or hang-ups about fulfilling his or her quest. Hell, maybe the ex-girlfriend is one of the unclean dead now rampaging through the city. At some point our hero will have to put the gal down.
Then, to satisfy readers (and editors), masterful authors should look at interpersonal conflict. A band of heroes have to work together to kill off the menace of phantom cockroaches. All good? No. To add spice to a plot, a great author will write in conflict between protagonists. What if the hero is still hung up about the fact that his second-in-command is shagging his ex? What if the protagonist has dirt on one of his comrades... or is forced to work with an enemy?
A great story works on many levels, where protagonists eventually find themselves in various degrees of trouble that eventually you can't stop reading, because you have no idea how the hell they're going to get out of the mess they're in.
Before a character reaches the end and they solve their problems, there's also a concept I'm going to share called a try/fail cycle. The classic concept is that a protagonist has to attempt to succeed at least three times before attaining their goals. If your hero had to get everything right the first time he or she tried, that'd also be pretty darn boring. By having them fail, it ups the tension. Will they have better luck next time? Ooh, look, let's turn the page...
These are just a few of the considerations I bear in mind while outlining my stories and, if you look at any of your favourite authors, you'll be able to isolate these aspects of world-building to see how characters can receive the breath of life.
In most paranormal thrillers or urban fantasies, conflict and its resolution are the keys to a story that keeps the pages turning.
In my role as editor, I see lack of any real conflict one of the biggest reasons why I reject a submission. As an author, I don't even dream of putting pen to paper unless I have a very clear vision of the problems a protagonist will have to overcome before they have their HEA... or not.
First off, there will be the exterior conflict that happens. The proverbial paw-paw that hits the fan and the events a protagonist has absolutely no control over. This could be a maurauding pack of werewolves, a vampire who's gone on a killing spree... Angry undead spirits... Invariably our intrepid protagonist will be wound up in these events and half the fun is not knowing why at first, then seeing how the protagonist gets his or her hands dirty and (it can be hoped) defeat the opponent.
But hell, plain old external conflict is darn boring without some sort of internal conflict. Maybe the protagonist's erstwhile lover got chomped by werewolves, or a beloved aunt drained dry by Dracula's second cousin. Whatever the internal conflict is, it should relate to why the protagonist will have either special knowledge or hang-ups about fulfilling his or her quest. Hell, maybe the ex-girlfriend is one of the unclean dead now rampaging through the city. At some point our hero will have to put the gal down.
Then, to satisfy readers (and editors), masterful authors should look at interpersonal conflict. A band of heroes have to work together to kill off the menace of phantom cockroaches. All good? No. To add spice to a plot, a great author will write in conflict between protagonists. What if the hero is still hung up about the fact that his second-in-command is shagging his ex? What if the protagonist has dirt on one of his comrades... or is forced to work with an enemy?
A great story works on many levels, where protagonists eventually find themselves in various degrees of trouble that eventually you can't stop reading, because you have no idea how the hell they're going to get out of the mess they're in.
Before a character reaches the end and they solve their problems, there's also a concept I'm going to share called a try/fail cycle. The classic concept is that a protagonist has to attempt to succeed at least three times before attaining their goals. If your hero had to get everything right the first time he or she tried, that'd also be pretty darn boring. By having them fail, it ups the tension. Will they have better luck next time? Ooh, look, let's turn the page...
These are just a few of the considerations I bear in mind while outlining my stories and, if you look at any of your favourite authors, you'll be able to isolate these aspects of world-building to see how characters can receive the breath of life.
Monday, March 8, 2010
Fantasy role-playing saved my writing
Okay, well, maybe not, but it did give me a distinct advantage when it comes to outlining my novels. Thing is, I always wanted to be an author. From the tender age of thirteen, I harboured a secret wish to write novels, fantasy, SF, horror… you name it. Fantasy role-playing was merely a stepping stone.
But of course it kinda took me a while to get to the writing bit, mmmkay? And, like many geeky “boff” kids who listened to Nine Inch Nails during the mid-1990s and painted their nails black, I spent inordinate amounts of time role-playing.
Back then it was the first incarnation of White Wolf’s Vampire: The Masquerade and Werewolf: The Apocalypse and I spent hours daydreaming about characters. It’s with some fondness that I look back at my first character ever. His name was Eric Bodin and he was a punk-rocker-turned Brujah who’d taken a short fuse as a personality flaw. (Yes, a Brujah with a short fuse. Stop laughing!)
For the life of me I cannot remember what I called my first Garou, but she was sweet and proved to be a far more versatile character in game-play. She was a Fianna Galliard (Lupus) and our group of intrepid role-players actually succeeded in playing that campaign to a close.
'nuff with the geek-speak.
Since then I’ve played a number of campaigns, everything from post-WWIII military strategy through to contemporary Cape Town by night. I’ve indulged in live-action role-playing (larping, for short) and still routinely read action-packed urban fantasy novels when I can lay my hands on them.
Okay, I was pretty weird for a chick. I mean, how many grown women role-play? Not many. As we grew older, I noticed my gaming partners were still the same introverted computer types (mostly) but some of them also had an active interest in military history, weapons, combat and the Society for Creative Anachronism. Apart from also being voracious readers of all things fantasy and SF, these boys knew their stuff when it came to facts, and our biggest debates during games were always about the logistics and possibilities of certain occurrences.
So, where does this tie in with writing?
One thing I’ve noticed is that regular role-players who’ve crossed over to writing, tend to have had more practice outlining their plots, character-building, creative visualisation and a better handle on cause and effect. And, while a background in role-playing may also bring with it some baggage (as in the “I’m writing my campaign as a novel” kind), I still think it’s an excellent training ground for would-be genre fiction novelists.
It’s the cause and effect that I’m going to discuss briefly. One of the biggest flaws in plot that I see (often) is authors who do not have a good idea of what happens under certain circumstances. When last did you kick down that door? Have you gone more than a day without drinking or eating? How did you feel? Have you ever been stabbed? Have you drawn a bow and nocked an arrow?
Too often, in my role as an editor, I see authors writing about these things in ways that are unrealistic and don’t ring true. As a gamer, I’d have to roll dice to determine whether my character could perform certain tasks and, based on his/her stats I’d have a very good idea of what is possible and my character would behave accordingly. (Have you ever seen a small thief try to slug it out with the biggest barbarian in a bar-room brawl?) Aware of my character’s limits, I’d make sure they did what they could when they could.
Authors need to look at their characters in that kind of light. They are not just place-holders for a narrative, who can do anything and everything.
If you run through dark city streets you stand a very good chance of tripping… and after a while will become really tired, perhaps even with a stitch. If you’ve been keeping watch all night you may grow bored, tired or cold, if outside. What if you become a vampire? You may struggle emotionally with a sudden allergy to sunlight and coping with the need to drink blood… How does being able to shift into a werewolf affect you? Does it hurt when you change?
So many times I encounter protagonists who seem nonchalant, blasé even, when their “normal” world turns to a pile of chaos around them. Then, when they take control and act, these situations seem to be resolved almost effortlessly. (Where’s the fun in that, eh?)
My suggestion: inform yourself. If you’re going to write about guns, take some time off during your lunch hour to visit your local gun shop. Speak to people who own guns. Complete a course in handling weapons. Make it real. Know how it feels when you have to experience the recoil. If you write a lot of action-packed novels, go for a few basic unarmed combat or self-defence classes.
If your novels take place out-of-doors, go camping in a forest or environment similar to that of your novel. Try to imagine what it must be to live out there 24/7. Read survival manuals. If it’s winter, what is the weather like? Ditto for summer? What do you do if there’s a veldfire or flash flood? Engage your senses.
Trust me, truly knowing how it is to engage with your environment, be it as a motorcyclist, archer or martial artist… it’s going to truly bring your writing to life with a ring of authenticity few can rival. Why? Because you’ve been there and done that. Or, at least you’ve spoken to enough people who have that interest that you can fake it really well.
But of course it kinda took me a while to get to the writing bit, mmmkay? And, like many geeky “boff” kids who listened to Nine Inch Nails during the mid-1990s and painted their nails black, I spent inordinate amounts of time role-playing.
Back then it was the first incarnation of White Wolf’s Vampire: The Masquerade and Werewolf: The Apocalypse and I spent hours daydreaming about characters. It’s with some fondness that I look back at my first character ever. His name was Eric Bodin and he was a punk-rocker-turned Brujah who’d taken a short fuse as a personality flaw. (Yes, a Brujah with a short fuse. Stop laughing!)
For the life of me I cannot remember what I called my first Garou, but she was sweet and proved to be a far more versatile character in game-play. She was a Fianna Galliard (Lupus) and our group of intrepid role-players actually succeeded in playing that campaign to a close.
'nuff with the geek-speak.
Since then I’ve played a number of campaigns, everything from post-WWIII military strategy through to contemporary Cape Town by night. I’ve indulged in live-action role-playing (larping, for short) and still routinely read action-packed urban fantasy novels when I can lay my hands on them.
Okay, I was pretty weird for a chick. I mean, how many grown women role-play? Not many. As we grew older, I noticed my gaming partners were still the same introverted computer types (mostly) but some of them also had an active interest in military history, weapons, combat and the Society for Creative Anachronism. Apart from also being voracious readers of all things fantasy and SF, these boys knew their stuff when it came to facts, and our biggest debates during games were always about the logistics and possibilities of certain occurrences.
So, where does this tie in with writing?
One thing I’ve noticed is that regular role-players who’ve crossed over to writing, tend to have had more practice outlining their plots, character-building, creative visualisation and a better handle on cause and effect. And, while a background in role-playing may also bring with it some baggage (as in the “I’m writing my campaign as a novel” kind), I still think it’s an excellent training ground for would-be genre fiction novelists.
It’s the cause and effect that I’m going to discuss briefly. One of the biggest flaws in plot that I see (often) is authors who do not have a good idea of what happens under certain circumstances. When last did you kick down that door? Have you gone more than a day without drinking or eating? How did you feel? Have you ever been stabbed? Have you drawn a bow and nocked an arrow?
Too often, in my role as an editor, I see authors writing about these things in ways that are unrealistic and don’t ring true. As a gamer, I’d have to roll dice to determine whether my character could perform certain tasks and, based on his/her stats I’d have a very good idea of what is possible and my character would behave accordingly. (Have you ever seen a small thief try to slug it out with the biggest barbarian in a bar-room brawl?) Aware of my character’s limits, I’d make sure they did what they could when they could.
Authors need to look at their characters in that kind of light. They are not just place-holders for a narrative, who can do anything and everything.
If you run through dark city streets you stand a very good chance of tripping… and after a while will become really tired, perhaps even with a stitch. If you’ve been keeping watch all night you may grow bored, tired or cold, if outside. What if you become a vampire? You may struggle emotionally with a sudden allergy to sunlight and coping with the need to drink blood… How does being able to shift into a werewolf affect you? Does it hurt when you change?
So many times I encounter protagonists who seem nonchalant, blasé even, when their “normal” world turns to a pile of chaos around them. Then, when they take control and act, these situations seem to be resolved almost effortlessly. (Where’s the fun in that, eh?)
My suggestion: inform yourself. If you’re going to write about guns, take some time off during your lunch hour to visit your local gun shop. Speak to people who own guns. Complete a course in handling weapons. Make it real. Know how it feels when you have to experience the recoil. If you write a lot of action-packed novels, go for a few basic unarmed combat or self-defence classes.
If your novels take place out-of-doors, go camping in a forest or environment similar to that of your novel. Try to imagine what it must be to live out there 24/7. Read survival manuals. If it’s winter, what is the weather like? Ditto for summer? What do you do if there’s a veldfire or flash flood? Engage your senses.
Trust me, truly knowing how it is to engage with your environment, be it as a motorcyclist, archer or martial artist… it’s going to truly bring your writing to life with a ring of authenticity few can rival. Why? Because you’ve been there and done that. Or, at least you’ve spoken to enough people who have that interest that you can fake it really well.
Thursday, January 14, 2010
Nice villians?
Truth be told, heroes aren't all they're cracked up to be. Have you ever stepped back and really looked at the whole hero scene? It's true they save people in dire situations. Noble, yes. Some have powers, some don't, but they are usually cookie cutter perfect. How boring is that? Where is the growth of character that makes them appealing?
Now villians are another story. Whether they are the actual antagonist or just colorfully bad secondary characters, villians bring a whole new aspect to the playing field. Unlike a hero, they are wonderfully flawed and sometimes unapologetically evil. My favorite bad guy out of all the books, shows, movies, etc. is Sesshomaru (For those of you who don't watch anime, he is the older brother of half-demon Inuyasha in the anime Inuyasha)
Sesshomaru is a full demon and is his father's eldest heir. Violent, cunning and powerful he certainly gives his half brother no end of trouble, constantly trying to kill Inuyasha and his love interest time-traveling Kagome. But he's not all bad. After stumbling across a wounded little girl who had taken care of him when he was hurt, Sesshomaru decides to use the sword his father bequethed him to bring her back to life (the only thing the sword is good for). Ren becomes his only friend, following him on his travels and slowly changing him for the better. He would kill for her and die for her, though normally self serving and evil. Point is this. He feels justified in his actions and truly believes what he does is right. It all depends on which side of the coin you stand on. What villians do you sympathize with? Why? What makes them special and how do you recreate that in your writing?
Be blessed,
Beth
Now villians are another story. Whether they are the actual antagonist or just colorfully bad secondary characters, villians bring a whole new aspect to the playing field. Unlike a hero, they are wonderfully flawed and sometimes unapologetically evil. My favorite bad guy out of all the books, shows, movies, etc. is Sesshomaru (For those of you who don't watch anime, he is the older brother of half-demon Inuyasha in the anime Inuyasha)
Sesshomaru is a full demon and is his father's eldest heir. Violent, cunning and powerful he certainly gives his half brother no end of trouble, constantly trying to kill Inuyasha and his love interest time-traveling Kagome. But he's not all bad. After stumbling across a wounded little girl who had taken care of him when he was hurt, Sesshomaru decides to use the sword his father bequethed him to bring her back to life (the only thing the sword is good for). Ren becomes his only friend, following him on his travels and slowly changing him for the better. He would kill for her and die for her, though normally self serving and evil. Point is this. He feels justified in his actions and truly believes what he does is right. It all depends on which side of the coin you stand on. What villians do you sympathize with? Why? What makes them special and how do you recreate that in your writing?
Be blessed,
Beth
Thursday, December 3, 2009
I'm on my way...
...writing the last chapter of a novella. Really, I feel like I've written it twice now. The first time around it was a nice, sweet, historical love story but had no oomph and wasn't dark enough for an open call.
So after wracking my brain, I finally asked my hubby for some insight and he came up with a great, original idea. I spent a week revising/rewriting paranormal elements into the book and I'll be darned if it's not awesomeness in a little package.
I will finish today then the re-reading/polishing begins.
What can I say? I love this time but I'm also anxious to work on my next project LOL
So after wracking my brain, I finally asked my hubby for some insight and he came up with a great, original idea. I spent a week revising/rewriting paranormal elements into the book and I'll be darned if it's not awesomeness in a little package.
I will finish today then the re-reading/polishing begins.
What can I say? I love this time but I'm also anxious to work on my next project LOL
Tuesday, November 24, 2009
Moxyland: The world of Lauren Beukes
I've know Lauren Beukes for a while now. I first encountered her short fiction in Something Wicked magazine and often read her articles. She has recently had great success with a speculative fiction tale—Moxyland—in a South African setting, painting a rather grim, distopian view of Cape Town a few years from now. She has kindly spared me some time from her busy schedule to chat about her writing.
Where did the idea for Moxyland spring from?
The original short story which became the novel was inspired by the hush-hush underground Lucky Strike parties and how brands were finding more devious ways to connect to consumers and creating a generation of sponsor babies.
But when I started writing the novel, it veered into neo-apartheid, cool advances in bio-tech, graffiti culture, AIDS, the art scene, virtual lives, alternate-reality gaming, soccer, the schism of poverty, corporate interference in government, apartheid’s insidious Special Branch police unit and their double-agent askaris, Wouter Basson’s dodgy medical experiments and issues of identity. Basically, I took everything I’m interested in and squeezed it in wherever I could.
Was it difficult finding a publisher for such obvious speculative fiction in South Africa?
I was very lucky, although it had a rocky start. A maverick young publisher Michelle Matthews wanted to start a new cult contemporary lit imprint for Struik and had already laid claim to Moxyland when the imprint fell through.
So, I took the manuscript to Jacana, who publish the most interesting books in South Africa: smart, playful, experimental fiction and hard-hitting non-fiction. The publishing director, Maggie Davey read the manuscript on the plane on the way to the Frankfurt Book Fair and by the time she landed, I had a book deal!
Tell us more about this deal with Angry Robot.
My agent was shopping the book around to literary imprints (we had some awesome rejection letters) when my friend and author Sarah Lotz got wind of HarperCollins’ new SF/F and WTF imprint about to launch. We contacted Angry Robot and they got back to us in record time and Moxyland became one of their launch titles. They’re an amazing, passionate bunch. Great to work with and excellent drinking companions.
How was the Moxyland ebook with its soundtrack received?
It was the first time anyone had released an ebook with an embedded soundtrack (and player) so there was a lot of great publicity. I’m hugely indebted to Electric Bookworks who figured out how to do it and to African Dope for helping me put together an official future-sound-of-Cape-Town soundtrack with their exceptionally talented artists.
Who was your favourite character in Moxyland, and why?
I had the most fun with Toby. He’s such a charismatic, amoral dodgy bastard, like the spirit of Long Street personified.
What is it about a South African setting that appeals to you and what do you think will appeal to foreign readers?
That old adage, write what you know? I know Cape Town, maybe better than a lot of people because journalism has given me an all-access pass from six-star guest houses frequented by topshelf politicos through to the the most desperate poverty and violence-stricken areas in the townships.
South Africa is a remarkable place, especially considering all we’ve come through. We like to live like our history never happened, but those roots are deep and treacherous and they’re still gonna trip us up for years to come. It’s an inspiring (and often devastating) place to live, with the mash of culture and identity.
We’re a country in the process of becoming. Becoming quite what, I don’t know, but I hope to hell it’s not Moxyland. I think foreign readers will find the strangeness appeals, the uncomfortable mix of first world and third world. It’s a place we haven’t seen represented that often in science fiction (District 9 aside).
Do you think local publishers will be more receptive to genre fiction any time soon?
I really don’t know. There’s a proven dedicated market for genre fiction, so I’d like to hope there will be. It depends on how open-minded publishers are and if it makes good business sense. But considering the top sellers of the moment are all high fantasy (Twilight, Harry Potter, Dan Brown), there’s certainly the possibility.
Useful links:
www.moxyland.com
www.angryrobotbooks.com
http://en.wikipedia.org/wiki/Lauren_Beukes
twitter: @laurenbeukes
Where did the idea for Moxyland spring from?
The original short story which became the novel was inspired by the hush-hush underground Lucky Strike parties and how brands were finding more devious ways to connect to consumers and creating a generation of sponsor babies.
But when I started writing the novel, it veered into neo-apartheid, cool advances in bio-tech, graffiti culture, AIDS, the art scene, virtual lives, alternate-reality gaming, soccer, the schism of poverty, corporate interference in government, apartheid’s insidious Special Branch police unit and their double-agent askaris, Wouter Basson’s dodgy medical experiments and issues of identity. Basically, I took everything I’m interested in and squeezed it in wherever I could.
Was it difficult finding a publisher for such obvious speculative fiction in South Africa?
I was very lucky, although it had a rocky start. A maverick young publisher Michelle Matthews wanted to start a new cult contemporary lit imprint for Struik and had already laid claim to Moxyland when the imprint fell through.
So, I took the manuscript to Jacana, who publish the most interesting books in South Africa: smart, playful, experimental fiction and hard-hitting non-fiction. The publishing director, Maggie Davey read the manuscript on the plane on the way to the Frankfurt Book Fair and by the time she landed, I had a book deal!
Tell us more about this deal with Angry Robot.
My agent was shopping the book around to literary imprints (we had some awesome rejection letters) when my friend and author Sarah Lotz got wind of HarperCollins’ new SF/F and WTF imprint about to launch. We contacted Angry Robot and they got back to us in record time and Moxyland became one of their launch titles. They’re an amazing, passionate bunch. Great to work with and excellent drinking companions.
How was the Moxyland ebook with its soundtrack received?
It was the first time anyone had released an ebook with an embedded soundtrack (and player) so there was a lot of great publicity. I’m hugely indebted to Electric Bookworks who figured out how to do it and to African Dope for helping me put together an official future-sound-of-Cape-Town soundtrack with their exceptionally talented artists.
Who was your favourite character in Moxyland, and why?
I had the most fun with Toby. He’s such a charismatic, amoral dodgy bastard, like the spirit of Long Street personified.
What is it about a South African setting that appeals to you and what do you think will appeal to foreign readers?
That old adage, write what you know? I know Cape Town, maybe better than a lot of people because journalism has given me an all-access pass from six-star guest houses frequented by topshelf politicos through to the the most desperate poverty and violence-stricken areas in the townships.
South Africa is a remarkable place, especially considering all we’ve come through. We like to live like our history never happened, but those roots are deep and treacherous and they’re still gonna trip us up for years to come. It’s an inspiring (and often devastating) place to live, with the mash of culture and identity.
We’re a country in the process of becoming. Becoming quite what, I don’t know, but I hope to hell it’s not Moxyland. I think foreign readers will find the strangeness appeals, the uncomfortable mix of first world and third world. It’s a place we haven’t seen represented that often in science fiction (District 9 aside).
Do you think local publishers will be more receptive to genre fiction any time soon?
I really don’t know. There’s a proven dedicated market for genre fiction, so I’d like to hope there will be. It depends on how open-minded publishers are and if it makes good business sense. But considering the top sellers of the moment are all high fantasy (Twilight, Harry Potter, Dan Brown), there’s certainly the possibility.
Useful links:
www.moxyland.com
www.angryrobotbooks.com
http://en.wikipedia.org/wiki/Lauren_Beukes
twitter: @laurenbeukes
Monday, October 26, 2009
My Personal Reflections
This past year has been interesting to day the least. I've gone from actively working on a new years resolution of loosing weight and getting in better shape, to expecting a baby and all weight loss out the window. I've started and thrown out my first non-children's book idea, and started on another.
This year I've fallen more in love with my husband than I thought I ever could. My daughter's bio-mother moved 3 hours away taking her away and I found out what having your heart break really felt like.
I've gone from building a custom costuming business, to breaking down my sewing room and storing most of my equipment in the dark corner of the basement so that my daughter can have her own room rather than share with the baby. I've watched my body go from something I had ultimate control over, to something that I not only cannot control, but that is apparently being taken over by an alien being.
I'm hoping for the next year that it will be a blur of baby stuff, writing, editing, sewing, and loving my family.
But of course I fully expect to win the lottery.
This year I've fallen more in love with my husband than I thought I ever could. My daughter's bio-mother moved 3 hours away taking her away and I found out what having your heart break really felt like.
I've gone from building a custom costuming business, to breaking down my sewing room and storing most of my equipment in the dark corner of the basement so that my daughter can have her own room rather than share with the baby. I've watched my body go from something I had ultimate control over, to something that I not only cannot control, but that is apparently being taken over by an alien being.
I'm hoping for the next year that it will be a blur of baby stuff, writing, editing, sewing, and loving my family.
But of course I fully expect to win the lottery.
Thursday, October 1, 2009
Release of The Haunting of Amelia Pritchart!!
I'm very pleased to share with you my release of my newest book THE HAUNTING OF AMELIA PRITCHART. It released yesterday from The Wild Rose Press, but I figured I'd promo it here today :-)
Blurb: Amelia Pritchart’s life is a mess. Her house is crumbling down around her, she’s got a bad case of writer’s block, and divorce papers await her signature. The trouble is, she still loves her husband.
And if that’s not bad enough, she comes face to face with a ghost—who has problems of her own. The restless spirit demands Amelia help her tormented soul so she can finally rest in peace. Intrigued, Amelia sets out to grant the wish, but soon finds there’s much more to the ghost than just being dead.
When her estranged husband shows up on her doorstep on Halloween, Amelia must face two pasts, both full of pain. Can she help the ghost without becoming eternally haunted? And can she face her own fears and insecurities about her marriage in order to grasp the second chance at happiness her husband offers?
Excerpt: “Tomorrow is All Hallow’s Eve. At the stroke of midnight, ghosts that have been unable to pass from the mortal world are allowed to assume their human body for 24 hours. In that time period, we are instructed to make peace with those issues that are preventing us from moving forward.”
“What does that have to do with me?” She frowned when Elizabeth’s form began to fade.
“It’s becoming difficult for me to see you.”
Elizabeth sighed. “I find that allowing myself to be seen by human eyes takes a good amount of energy on my part. I need to rest. Before I go, I would like you to find a descendant of Samuel’s. I need to confess my secret. Please help me.”
“I’ll try.” Amelia scrambled for the small notepad and pencil on her bedside table. “What’s Samuel’s full name? I won’t be able to hunt down his family without that information.” She set aside the incredible fact she was conversing with a ghost.
“Samuel Pritchart Carmichael. Please do your best, Amelia. My hope is resting on you.”
Amelia blinked, and her shiver this time had nothing to do with the temperature of the room. “Pritchart? But that’s impossible.” Her stomach threatened to revolt at the familiar name. Before she could question the specter further, the ghost evaporated into the darkness with a soft sigh. “Elizabeth?”
Leaving the safe harbor of her bed, Amelia padded across the creaky hardwood floor. As she inspected the chair for signs that the ghost really had visited, she passed a hand through the air before her. The ghost left no evidence of her visit.
How could she possibly help a woman who died 90 years ago?
http://www.thewildrosepress.com/the-haunting-of-amelia-pritchart-p-3684.html?zenid=c63bc41638d901461c9cedd6f6ff44f7
Video link: http://www.youtube.com/watch?v=Fu9I5TVf8u4
It’s been reviewed as well! The Haunting of Amelia Pritchart is what a ghost story should be, intriguing, exciting, and leaving me anxious for more.
For the full review, please visit: http://www.classicromancerevival.com/blog/?p=1385
And please drop by my website to see what else I’ve been up to! http://www.sandrasookoo.com
Thanks for reading and I hope you'll consider adding this book to your electronic library!
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