Category Archives: The Writing Life

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/

Tinkering with History: The Mainstay of Steampunk

March 8, 2013

fictorians

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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.

Literary vs. Genre Fiction – What’s All the Fuss About?

March 4, 2013

Leigh Galbreath

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Once upon a time, there was literature. That was it. Everything was just literature. At some point, stories became so varied that they branched into distinctive categories. Whether this was something brought on by readers gravitating to certain types of stories or publishers categorizing said stories to make it easier for readers to find, or some other reason all together, I don’t know. But, over the last hundred years, fiction split into the convenient labels we know today.

This split isn’t without its controversy, though, and has created a very real divide between what’s referred to as literary fiction and genre fiction. When most people think of the difference between the two, many think of overly-serious literary writers looking down at genre writers as hacks, while genre writers run off with all the money. Tempers can run high when it’s discussed. Stephen King famously almost got into a fist fight over the very idea that genre fiction was somehow of less value than literary fiction.

But, what’s the big deal, really? What are the actual differences between the two?

When I was in college I took a creative writing class, where the teacher asked us that very question. One of my fellow students, who was a literary writer, said that literary fiction was character driven, while genre fiction was plot driven. Now, anyone who reads Joe Abercrombie knows that’s a false assumption. Actually, that student was keying to something very real, he just didn’t recognize it for what it was. It has little to do with character and plot, really, and all to do with structure. Genre fiction is built on structure. Literary fiction isn’t.

We’ve mentioned using scriptwriting as a basis for writing novels more than once. Pyr editor, Lou Anders, talks about the Hollywood formula all the time. Why? Because the Hollywood structure works. Certain beats happen at certain moments, and the story resonates better for the audience. It works. Readers like the structure, and every genre has its own. Romance, for instance, is famous for its very strict story structure — and it’s the highest grossing genre of them all.

Literary fiction, on the other hand, has a more organic approach. It lacks the structure that makes genre fiction so easily digestible for readers. Funnily, my aforementioned writing instructor confessed that she was halfway through a story when she realized she didn’t have a story arch. That’s a problem few genre writers will ever have. But, one of the things this allows for literary fiction is experimentation. You get weird little stories that are all dialogue or written in stream of consciousness or told backwards. Playing with technique and form is much easier when you don’t have to worry about story beats hitting at a certain moment. For more adventurous readers, this is great, but, like I said before, people like structure, and this may be one of the big reasons genre fiction is more lucrative.

The other real difference between the two, has to do with subject matter. Literary fiction tends to be rooted in real life far more than genre fiction. Sometimes, a little too much. I’ve heard more than one person disparage literary fiction as depressing and oppressive. At the same time, it explores life in a way that genre structure won’t allow. The killer is usually found out in the end of a mystery. The hero usually beats the evil sorcerer in an epic fantasy. The boy usually gets the girl at the end of a romance. Literary fiction doesn’t flinch from the reality that life doesn’t always end well for the good guys, if there even are goods guys involved.

Genre fiction, on the other hand, is often thought of as escapist because it deals with situations that you won’t find in everyday life. Me, I think that’s an over simplification. In truth, all fiction is escapist, even if there are no spaceships or serial killers involved. Even if you read only literary fiction, you’re not reading your own life, so it’s still an escape. If it weren’t, it would be non-fiction.

So, are you one of those writer’s who stresses over the decision to write literary or genre fiction? The differences above are, of course, generalizations. There are lines blurred everywhere. There are plenty of experimental genre stories that look at real life, especially in Science Fiction. There’s plenty of fantastic elements in literary fiction, too. And anyone saying that genre fiction makes more money really needs to look at how much genre fiction there is out there to see how easily that wealth is swallowed by the sheer magnitude of product. Even if there are more readers, it’s no easier to make it big. Besides, literary fiction has Oprah Winfrey on its side. Neither path is a surefire path to financial freedom, but neither is a surefire path to destitution either.

To me, choosing between literary and genre fiction is like choosing between landscape and abstract painting. They both have their detractors and their supporters, but their creators are also both artists who follow a craft they love. Our art chooses us just as much as we choose it. We write what we write because that’s what we feel the need to do.

So, really, in the end, it doesn’t matter which side makes more money, does it? If you feel the need to write literary fiction, you won’t find any happiness writing techno-thrillers, and your readers won’t enjoy reading them, either. Stick with your passion, even if it means you’re still stuck at a day job. You’ll never go wrong.

Choosing A Genre or Mashing-Up Genres ““ What’s it All About?

March 1, 2013

Ace Jordyn

Ace Jordyn Craft & Skills Genres Ideas & Plotting Storyline The Writing Process World-building Writing Tools 3 Comments

I read three well written novels novels recently and wasn’t sure what genre they belonged in. They were set in the future – one was set in a dystopian Calgary with some really cool cyborg people, another was set on Mars where people had the option of having their consciousness transferred into android bodies, and the third was set in another solar system with interstellar travel and neat technologies and alien beings. Science fiction seemed logical as they were all in the future, but their telling and basic elements were much more traditional.

If mystery had a future-crime sub-genre, all would fit that category beautifully. Rob Sawyer’s Red Planet Blues has a delightful, laid back gum shoe detective. Defining Diana by Hayden Trenholm (see his blog on writing science fiction later this month) is a solid crime novel that’s gritty, hard and gruesome when it needs to be. K.A. Bedford’s Hydrogen Steel has a retired homicide inspector struggling to save humanity while she struggles to accept her own physical reality. These are three well-executed detective stories marketed as science fiction.

The fact is, when we write, we use elements from several genres in our stories. Mystery in science fiction. Thriller in fantasy. Romance in steampunk. The mash ups are as varied as the imagination! And yet, some work better than others. Why? The magic happens when the author understands the elements that make each genre unique. For example, a cozy mystery like Rex Stout’s adventures with Nero Wolfe, could have easily fallen into the annals of “literature’ as Stout deftly captures the voice of the time by using strong characters and a well-defined milieu. Yet, his stories are, first and foremost, mysteries and his novels are marketed as such.

In all four examples, it is each author’s ability to understand the genres they are mashing that gives their work depth and memorable voice. Most importantly, their writing is a joy to read as it pleases the intellect on many levels. Making it fun for the reader, transporting him to worlds he never dreamed of – that’s the true test of knowing your genre well and choosing mash-ups wisely. I recently had the privilege to edit Shanghai Steam , an anthology with a unique mash-up of steampunk and wuxia. Reading the submissions and editing the selected stories was fun because authors who understood the subtleties of both genres created distinct worlds, plots and characters. Fun, gripping, mind-blowing – that’s what it’s all about for writers and readers.

Do you choose to write in one specific genre or do you use a mash-up? Every novel has elements of several genres and the question is one of degree and desired market placement. Is it science fiction or mystery? That’s determined when you decide the character of your novel – what its unique voice will be. It’s no different than creating well-rounded, deep characters as was discussed in many of February’s posts. Frank Morin, in his post Complex Characters reminded us of Shrek thinking he is like an onion – layered. In his post Platonic Male-Female Relationships in Fiction (a.k.a. “The Glue”), Evan Braun compared the complexities of romance against friendship as he discussed how each creates a different dynamic in character interaction. What is your story’s dynamic? How will the genres you choose relate to one another? Is your story more mystery or science fiction? Which genre will have the stronger voice? Like Shrek’s onion, how many layers deep will you go into each genre? What blend provides the best milieu for telling your story? How will your characters and your readers react? What will you choose?

March’s posts will help you better understand how each genre can give your story its unique voice and character. We’ll also have posts comparing genre writing to literature, choosing which genres to mash and how to market them, and there’ll also be a case for not worrying about any of it. There will be posts on specific genres including horror, steampunk, fantasy, romance, science fiction and many others. What makes each genre unique? What makes it work?

Choose your story’s voice and character and have fun writing as you peel back the layers!

Let’s see now … Miss Marple in dystopian 2081? A western horror? Steampunk space opera? Romantic military SF? Historical fantasy thriller? Urban fantasy folktale? So many to choose from…