Category Archives: The Fictorians

Guest Post by Stone Sanchez

The year is 1998. I’m sitting at home watching the latest airing of Power Rangers in Space, excited to see my favorite multicolored team of heroes take out the newest baddie on the block. Up until now, the draw of other shows has been meaningless and nothing has been able to take me away from the Power Rangers franchise that I may have been a little obsessed with. (If I’m honest with myself, I’m still a little obsessed with it.) Outside of mega titles like X-Men, Spiderman, and Superman: The Animated Series-shows that I only watched with some form of regularity-the Power Rangers franchise had me completely hooked.

Until that fateful day when my brother runs into our room just as the theme to Space is about to start and he changes the channel on me. All of a sudden I’m greeted by the image of what looks to be two aliens flying in front of the moon. The words “I wanna be the very best, that no one ever was” play in my ears … and from that moment my world was changed. I had just experienced PokÃ©mon for the first time, and by extension, anime.

The word “anime” is usually mistaken to come from the word “Japanimation,” a word that was coined in the 1980s and commonly used to reference animated series made in Japan. This origin, while seemingly very possible, is inaccurate. Anime is actually the Japanese’s shortened word for the English word “animation.” In Japan, the term is used to describe any works that have been animated-be it from Japan or anywhere else. Outside of Japan, using the word anime is reserved and specified for Japanese Cel Animation only.

What is anime, though? What makes it different from any other regular Saturday morning cartoon? Absolutely everything! A major difference between anime and cartoons is in the art. While American art is very basic, usually putting just enough effort to make the characters recognizable, anime is very artistic and creative when it comes to the depiction and distinction of each character, depending on which stylized version of anime you watch. But the biggest is in story.

In Cartoons we only see kids deal with kid situations, and adults deal with adult situations. This line is skewered in anime. Case in point: Gundam Wing. Five teenagers ages 15-16 are sent to Earth from the Space Colonies to begin terrorist attacks on the unsuspecting OZ organization. In the fallout, these teens must deal with being hunted, hated, and targeted at every turn. Throughout the show they deal with emotional strain from constant war, being betrayed by the home they thought they were protecting, and become ostracized by the world. Teen depictions in Cartoons are usually comedic while dealing with their issues. Even in the great American Cartoons like Avatar: The Last Airbender, tense situations are usually broken by a comedic gesture so that the tone of the show isn’t too heavy.

There are different ways anime can be categorized. Luckily for us, the Japanese have given us several ways to do this:

On one hand, it can be broken down anime by genre. You have your run of the mill action/adventure, horror, sci-fi, drama, progressive, and then one not so normal: game-based. This is used to denote animes that are based off a game. (Yu-gi-oh is a good example.)
More specifically, you can categorize anime by demographic. The Japanese have specific names for each demographic.

Shojo: This brand denotes anime made for young girls from the ages of ten to eighteen. (Sailor Moon, Cardcaptor Sakura, Kaicho wa Maid-sama)
Shonen: This is usually targeted at male ages ten and up. There’s no age cap to seal that limit. (Dragon Ball Z, Naruto, Bleach)
Seinen: Targeted at males over the age of eighteen, Seinen is sometimes mistaken for the Japanese Hentai category. In actuality, Seinen anime emphasizes storyline and character development instead of focusing on just the action and powers of the characters. Oftentimes, due to its concentration on plot and characters, Seinen may be confused with Shojo, but ultimately comes out as Seinen as the show is played out. (Ghost in the Shell, Hellsing, Akira)
Josei: Young women ages fifteen to forty-four are the target market. Unlike Shojo anime, this category is more restrained with its animation. There are no sparkling eyes, although the wispy features of the characters are kept. Unlike Shojo, Josei deals with a very realistic aspect of relationships and takes away the romanticized view of everything that Shojo usually contains. (Paradise Kiss, Loveless, Between the Sheets)

One of the last ways to classify Anime is by the themes of the story:

Bishojo: Anime with beautiful girls. (The Melancholy of Haruhi Suzumiya, Sailor Moon, Lucky Star)
Bishonen: Anime with guys with pretty, girlish features. (Kaicho Wa Maid-Sama, This Ugly Yet Beautiful World, Getbackers)
Sentai: Anime with teams of fighters. On a reference note, Power Rangers was based off a Japanese show called “Super Sentai” (Dragon Ball Z, Yu Yu Hakusho, King of Fighters)
Mecha: Anime with giant robots in them. (Gundam, Robotech, Neon Genesis Evangelion)
Post-apocalyptic: Anime taking place after the world has already ended. (The Big O, Cassherin Sins, Desert Punk)
Maho Shojo: Anime based on magical girls. (Sailor Moon, Princess Tutu, Shugo Chara!)
Maho Shonen: Anime based on magic boys. (G Gundam, Nagima! D.N Angel)
Expertise: Sports, arts, cooking-related anime. (Whistle, Prince of Tennis, Kaleido Star )
Harem: One guy with a lot of female romances. (Tenchi Muyo, Shuffle, Love Hina)
Reverse Harem: Anime where a girl has romances with multiple guys. (Candy Candy, Fruits Basket, Princess Army: Wedding Combat)

These are the building blocks of anime. Some of these themes can be translated into anime’s counterpart, cartoons, but usually most cartoons aren’t willing to go as far as anime is. Liberties are taken with darker tones, risquÃ© characters, and “grey area” subject matter. Whereas cartoons in America are specifically seen as things for kids to watch, with the exception of shows like South Park and Archer, anime in Japan has a categorization for every demographic and is not strictly seen as childish or immature.

Anime is a very broad subject, and this post barely scratches the surface. There are many differences between anime and cartoons and within anime itself. If you’ve never watched any anime before, do so. You may be surprised to find out you’re one of those “anime people” after all.

Here are my top picks: Cowboy Bebop, Gurren Lagann, Ghost in the Shell, Eden of the East, Clannad, Gundam 00 (I’m obsessed with Gundam), Desert Punk, Tenchi Muyo, Another, Yu-Yu Hakusho, The Big O, Samurai Champloo.

Stone Sanchez is an aspiring professional author that has been active in the writing community for the past two years. Currently Stone is associated with the Superstars Writing Seminars by recording, and managing the production of the seminars when they occur. He’s also worked with David Farland recording his workshops, and is currently the Director of Media Relations for JordanCon, the official Wheel of Time fan convention. Often referred to as the “kid” in a lot of circles, Stone is immensely happy that he can no longer be denied access places due to not being old enough.

Photos are courtesy of the website http://www.animegalleries.net/

The Elements of a Good Mystery

March 11, 2013

fictorians

Craft & Skills Guest Posts 2 Comments

Guest Post by Gail Bowen

Aesop’s tale of the fox and the lion is often credited with being the first mystery. Remember the story of the King of the Beasts summoning the lesser animals into his den? All the animals trot in happily. Only the wily fox refuses. When the Lion asks the fox why he fails to do what his fellow creatures have done, the fox says simply: “I see many footprints going into your den, but none coming out.”

In this simple tale we see many of the elements of the mystery.

l. Mysteries are plot-driven. They give readers a story. There’s a fair play rule in mysteries. The reader must have equal opportunity with the detective for solving the mystery, and that means the reader is engaged. There’s a reason mysteries are called “page turners’.

In a good mystery, there is always an “aha’ moment. When the Lion asks the fox why he doesn’t follow the example of the other animals, and the fox says, “I see many footprints going into your den, but none coming out,” that’s the fox’s and the reader’s “aha moment’.

2. Mystery writers take the problem of good and evil seriously. In the enduring popularity of Conan Doyle’s Sherlock Holmes series, we see good and evil personified in Sherlock Holmes and Professor James Moriarty. When the two meet at the edge of the Reichenbach Falls and wrestle till they fall over the falls together, the arch villain plunging to his death and the detective miraculously escaping with his life, we see law triumphing over lawlessness and good triumphing over evil.

In mysteries, after a fair fight, good always wins and evil is punished.

3. Mysteries are a very accommodating genre. Mysteries offer something for everyone: police procedurals, forensics, cozies, character driven series; studies in aberrant psychology. As long as the writer plays fair with the reader and some sort of rough justice is meted out at the end, the mystery writer can do pretty much what he or she wants.

4. People like series, and many mystery writers choose to create series.

Peter Robinson and I were on Shelagh Rogers show last year talking about mysteries and whether we felt as a genre writers we were relegated to sit at the kids’ table at the great literary banquet. Peter and I have been writing for about the same amount of time -around twenty years-so we know something about publishing. With a series, your backlist stays in print, your readers are loyal; they will forgive you a book that they don’t particularly care for and look forward eagerly to the next book.

There’s also the fact that in a stand-alone book, a writer gets maybe 380 pages to create a world. The Gifted, which will be published in August 2013 is my 14^th book, and that means I’ve had 5,000 pages in which to develop my protagonist Joanne Kilbourn-Shreve’s character. Peter Robinson’s Inspector Banks has appeared in 19 novels. Rex Stout wrote 46 Nero Wolfe novels and an equal number of novellas. Conan Doyle wrote 4 Sherlock Holmes and 56 short stories. As you can see, writing a series is very rewarding for a writer.

5. People are drawn to a protagonist and they become loyal to him or her. Last year I had to write a piece about Buried Treasures in crime fiction for the Globe and Mail and I wrote about the Nero Wolfe cook-book. Nero Wolfe is my all-time favourite detective and I’m not alone in my affection for him. Not only is there a Nero Wolfe cookbook; there’s a brilliant biography of Nero Wolfe by the cultural historian Jacques Barzun and endless scholarly papers and squabbles. The Nero Wolfe books are very well written. In the Globe and Mail article I admitted to lusting after Nero Wolfe – “tireless talker endowed with a touch of Johnsonian genius”, a grower of orchids, a brilliant detective and a great and discerning expert on food.”

I’m not sure that anyone lusts after my protagonist Joanne Kilbourn-Shreve, but I do know that I get at least ten very nice emails a week from people who are reading and enjoying the series.

I didn’t set out to become a mystery writer. By training I’m an academic who spent her professional life teaching Canadian Literature and creative writing. That said, I’m very glad the adventure of mystery writing came my way.

*****

Gail Bowen’s mystery book series features Joanne Kilbourn, a university professor, sometime political columnist, and a wife, mother and grandmother. Her 14^th Joanne Kilbourn novel will be released in August 2013. In June 2008, Reader’s Digest named Bowen “Canada’s Best Mystery Novelist’. To learn more about Gail’s books and to read her blog, visit her website http://gailbowen.com/ .

Tinkering with History: The Mainstay of Steampunk

March 8, 2013

fictorians

Craft & Skills Guest Posts World-building Writing Tools 5 Comments

Guest Post by Quincy Allen

Steampunk, at its purest and most basic, is anti-establishment fiction in a Victorian setting that adorns an adventurous stage with impossible gadgetry driven by steam, clockwork, aether and Tesla coils. Imagine 20,000 Leagues Under the Sea, Frankenstein or The Time Machine, but with more goggles, zeppelins, corsets and guns … oh, and the odd zombie, vampire or mad-scientist thrown in for good measure. But that’s just the textbook answer … or would be if a textbook on steampunk existed, anyway.

Commercially, steampunk is a growing sub-genre under the rather wide umbrella of science fiction and fantasy. It’s intriguing that steampunk as an aesthetic has been branching out into other genres, including romance, horror, paranormal and pure fantasy. Or is it the other way around? Is steampunk an underlying aesthetic or is it window dressing? Those questions are best left to the purists and the marketplace.

Most good steampunk literature has a strong sense of being part of real world history. It’s real history told with a twist … a change in the very fabric our knowledge that turns the impossibilities of steampunk into an alternate reality more compelling and vibrant than the history itself. The question is, how does a writer achieve this?

The answer? Research.

It would be foolish to suggest that every writer of every steampunk story researches actual events and then merely applies and alters them. There are many examples of researched and un-researched steampunk that are good reads and are commercially successful. However, a writer can increase the likelihood of both a good story and its success by delving into real history-even at a cursory level-and then playing with it as a god plays with the fabric of the universe. After all, truth frequently is stranger than fiction.

For me, it is critical to create a moment in time where my fictional history deviates from the real one. Doing so allows me to extrapolate from that moment in time and rationalize the existence of both magic and impossible technologies in a recognizable but alternate nineteenth century. Imagine a world where witches are as common as blacksmiths, the railroad was surpassed by zeppelin transports and fully functional artificial limbs are a reality, albeit an uncommon one. And all derived from a single change, a critical moment gone awry in the history of the Catholic Church.

The irony is that the altered moment I refer to-the assassination of Pope Gregory IX in 1227-is not even mentioned in the manuscript I’m currently editing. What is important is the awareness of this “revisionist” history. Because of it, I understand the reason why witches were not exterminated. I know why the populace didn’t die off from The Plague and how technology flourished a hundred and fifty years too early. This awareness lends itself well to understanding the social, political, economic and cultural influences that shape characters and culture .

History is awash in a variety of extremely colorful characters that can give-with a little bit of research-a truly genuine and vibrant feel to an invented history. For example, while researching the American West of the 1870s, I discovered real people like Emperor Norton (yes, America had an Emperor in the nineteenth century) and Bloody Bill Anderson, who was a brutal and ruthless advocate of both slavery and the slaughter of anyone who believed otherwise. Both historical figures are in my manuscript, and they add both color and validity to what is a very alternate history.

I’m not suggesting that a writer of steampunk needs to be a historian. Far from it. However, steampunk authors owe it to their readers to be familiar in the aesthetic and at least some of the significant people and events of the time. An adventure story traversing Europe and the East Indies in the early nineteenth century should mention the East India Company or justify why it doesn’t exist. A story set in America in the 1860s should address the Civil War or eliminate the war completely. A steampunk story set in China during the Victorian period should mention British influences there or find a reasonable way of working around them.

In the west, we refer to the nineteenth century as the Victorian Era as a direct result of Queen Victoria and the British Empire’s influences. However, that period of human history was an exciting time all around the world. More and more steampunk is reaching out to the four corners of the Earth and exploring it with truly interesting explorations of world cultures.

Steampunk audiences understand the historical setting in one way or another. When you take pen in hand (or finger to keyboard) you’d best have a few ducks in a row. Not only will you be drawing upon actual history to invigorate your writing, you’ll be giving your readers easy markers and handholds to lock onto as you fiddle with the space-time continuum.

Quincy has been published in multiple anthologies, online and print magazines, as well as in one omnibus. His steampunk version of Rumpelstiltskin is under contract with Fairy Punk Studios, and he’s written for the Internet radio show RadioSteam. His novel Chemical Burn-a finalist in the Rocky Mountain Writers Association Colorado Gold Writing Contest-was first published in June of 2012, and has been picked up by Fantastic Journeys Publishing. His new novel Jake Lasater and the Blood Curse of Atheon, will be on sale this summer, and he’s writing an off-world steampunk-esque series. You can follow his ongoing exploits on FaceBook and at www.quincyallen.com.

What Makes Good Horror?

March 6, 2013

fictorians

Character Craft & Skills Guest Posts 5 Comments

Guest Post by Craig DiLouie

I enjoy writing horror because it allows a writer to really stretch and go way beyond standard norms and reader comfort zones. But what makes a good horror story?

First, let’s define horror fiction. Wikipedia defines it as a genre of literature that is intended to “scare or startle readers by inducing feelings of horror and terror.”

In other words, it’s fiction that produces feelings associated with horror-what Merriam-Webster defines as “painful and intense fear, dread or dismay”-in the reader. The Horror Writers Association essentially agrees with this definition.

I do as well, though I would add that effective characterization is so important to achieving the goal that it should be part of the definition. Why? Horror is more likely to be realized by the reader when there is a character, with whom they can relate, experiencing it at the same time. In this way, certain characters in the story are intended to stand in for the reader.

Character is doubly important when one considers the fact horror is a very subjective emotion. Some of us find the sight of blood horrifying, while others don’t. Some of us tremble and sweat at the slightest turbulence on an airplane, while others barely notice it. If the author can put the reader in the protagonist’s shoes, they should experience feelings of horror through empathy even if they themselves don’t find the object of the protagonist’s horror that scary or dreadful.

Before we continue, we should probably ask the question: Why would anybody want to actually experience this? Horror is, after all, horrifying.

In Thrill Seekers Thrive on The Scary, published on WebMD.com, Dr. Frank Farley, psychologist at Temple University, says people can satisfy their curiosity about and fascination with the frightening, the bizarre, the unusual, and make sense of it. Dr. Glenn Sparks, professor of communications at Perdue University, believes people have a basic need to seek out situations outside their comfort zone. In some cases, they want to confront danger in order to conquer it.

Then there are the physiological changes that occur when confronted by danger, which some people enjoy-the adrenaline rush, the pounding heartbeat, the sweaty hands. Says Farley, “There’s almost nothing else, including sex, that can match it in terms of the incredible sensory experience that the body is put through.”

That’s powerful stuff. So how do we “bottle” that in a book?

The basic structure of a horror story goes like this: You have the normal, introduce the horror element that disrupts the normal, and finish with the new normal.

Force some interesting people in a story to face the fantastic with high stakes, and you’ve got the setup for a thriller. Make the fantastic horrifying, and you’ve got horror. Make the horrifying life-threatening, and you have survival horror. Make the horrifying element a ghost, demon, etc., and you have supernatural horror. Make the horrifying element a serial killer who brutally slaughters his victims, and you have splatterpunk. Make the horrifying element be life-threatening to everybody at once, and you have the makings of apocalyptic horror. And so on.

Personally, my favorite kind of horror stories are apocalyptic. There are so many great stories that can be told in an end-of-the-world scenario. When well told, these stories can be stirring to the spirit as well as the intellect, particularly when horror is contrasted with hope.

So now we know what horror fiction is and why it’s sought out. But what makes a good horror story? The answer is deceptively simple. In short, a good horror story is a good story that happens to be in the horror genre.

I’m not trying to be cute here. Too often, writers put the horror element so far forward that other elements of the story that matter, particularly character, take a backseat. At all times, a good horror story will give us people we care about, engaging conflict and so on.

Story always comes first!

In fact, with horror, getting the basic story elements right is even more vital because the horror element may be so fantastic it requires a greater suspension of disbelief and therefore a higher degree of grounding. The more the reader can empathize with the character’s subjective response to the horror element, the greater their shared feelings of fear and dread. The more richly rendered the setting, the more the monsters that populate will stand out. The greater the willing suspension of disbelief, the more likely the reader will confront the horror in your story, find it believable, and experience genuine feelings of horror. And so on.

In short, the greater the story, the greater the horror.

Now let’s talk about the horror element, which can be conveyed as elements that are internal or external, imaginary or real, supernatural or physical, atmospheric or in-the-flesh. This is where you can have a lot of fun and let your imagination soar. Is it a plague that changes behavior? A trusted pet that turns on a family? A serial killer stalking a couple in a remote motel? A nice, outgoing family man slowly becoming violently insane? Tentacled monsters freed from an underground cavern? Hordes of the cannibalistic dead? A sadistic summer camp counselor? A derelict house haunted by the spirits of its victims? How successful the novel is will depend on two things-first, how well your writing gets the reader to empathize with the characters’ horror, and two, how much the horror element resonates with their imagination.

Horror is still a young genre that has been largely neglected by the major bookstores. With the advent of eBooks, online retailers like Amazon are eating their lunch as literally thousands of titles are becoming available, many of them very good. As a result, there is still plenty of opportunity for writers to break in and make a name for themselves. Forget your preconceived notions of what horror fiction is-that it’s werewolves and vampires, that it’s Nightmare on Elm Street and Friday the 13th, or whatever else immediately comes to mind-and make it your own.

Most important is to tell a good story and have fun, and your reader will too!

Craig DiLouie is the author of the apocalyptic horror novels Tooth and Nail, The Infection and The Killing Floor. His latest horror novel is in contract negotiations with a major publisher. He is an Active Member of the Horror Writers Association. For more information about Craig’s work, visit www.craigdilouie.com, where he blogs regularly about apocalyptic horror media.