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In yesterday’s post we asked if it was possible to create mythology and why, as writers, we need to. In this post, I’ll talk about some of the tools I use to build mythology.

The truth is that our rational minds want to and need to rationalize what we cannot control. We need to make sense of the paradoxes and the unexplainable. It doesn’t need to be far out – it can be based on pagan principles (survivalist on Maslow’s hierarchy*), technological environment (Robert J Sawyer’s trilogy, Wake, Watch, and Wonder in which hte world wide web wakes up. Although doesn’t tackle the question of myth creation directly, it makes a good case for a developing a myth based in technology). In a world of proto-people, vampires, werewolves, zombies, revenants and the rest, how do your characters view their own origins and existence? How do the humans view them? Are these proto-people like mythological figures to the humans?

The starting point is to look at the geography, the world that your characters inhabit. Is it a harsh environment like the polar ice cap, low gravity of mars, void like the moon, rich and abundant like Tolkein’s Middle Earth, or is it an urban setting on modern? Whether it’s an alien on/from another planet, ancient peoples, futuristic people on space ships, a post apocalyptic world (in Hunger Games they lived with the mythology, the “gods’ who determined whether they were chosen to die) you need to know your environment and then determine how your characters will respond to it.

So, what challenges will your protagonist face based on where she lives? How does her environment affect her and those around her? Most importantly, how does she make sense of what is happening around her? In my current work, a fantasy with historical overtures, the ancient civilization lives on a volcanic island. Rules, conduct, religious practices are all based on keeping the God of Thundering Mountain happy so he doesn’t erupt. When He rumbles, then the Magic Master is in trouble. Throw in the Earth Mother and her goddesses who have been upset since the God of Thundering Mountain arrived. Now the world is rife with possibilities. Of course, we don’t get to see the God and Goddesses interact, we know the tension exists between them through the interactions of the High Priestess who serves the goddesses and the Magic Master who serves the god. Throw in some commerce-based political drama, a murder and a foreign kidnapping and all actions in this new mythological background are bound to blow up – literally and figuratively … especially when we learn that the God wants to be incarnate so he can walk the world and rule it.

So you can see how this mythology developed from the environment. First, by determining the geography, the time period and the level of technology. Then there’s the interpretation of that world by its inhabitants which then determines how people act and react. But let’s talk about technology for a moment. In the time period I’m working in, 2000 BC on Crete, archaeologists discovered that the Minoans had developed some basic, actually very sophisticated, astronomy.

The cool thing is that the constellation we know as Orion’s Belt, was known to them as the Double Headed Axe. That’s all we know about it – not even why they saw it that way. Isn’t that the most exciting piece of information a writer can have? I mean, it’s the perfect symbol in the book! When it pops up, all sorts of things are going to happen! And, I’ve even mentioned that for one character, the double axe looks like it’s slung on a belt. That modern reference draws the astute reader further into the mythology because there is now a ring of truth, a familiarity to it. So even basic technology and information can tell us a lot about how people interpreted their world and how they would have reacted. Most importantly, it can help us create that mythology with a deeper meaning rooted in basic survival.

The thing to watch for is not to assume that the current value systems we hold, religious, political, economic and law enforcement systems we adhere to are the same for the characters in your book. If they are, that makes for safe, dull writing unless you’re writing a great emotional drama in that specific environment. The purpose of writing is to entertain, to challenge readers with new thoughts and perspectives. Readers want to understand and experience the world you are delivering. Even if it is set in modern day, they want to read about those who rightly or wrongly challenged the status quo, became the hero, went on an epic journey mentally and physically. And the easiest way, to my mind, is to do that by developing a new mythology for that makes it a fun and safe way to deal with paradoxes.

I’ll share one more tidbit with you. On Minoan Crete, they had tholos tombs where bodies were put to rot before the bones were placed in pithos jars. Cool, eh! So the basic questions are, why? What did this mean? How does it relate to their world view and what’s happening? My answer was that the Earth Mother, who helped give them life needed to feast on the flesh of her children to welcome them back into her womb and her world. The bones remained so people would remember their connection to their ancestors and the Earth Mother. What’s your interpretation? Go, delve into the world you’re creating. Look closely through the eyes of your characters and let them tell you how they see it. You never know what great mythology lies in that first inkling of an idea!

*for more information on Maslow’s check out my post: http://www.fictorians.com/2011/10/17/valuing-your-characters-or-maslow-for-writers/

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Just a small reminder to not forget about Monique Bucheger’s Book Bomb today! You can now get 30 ebooks by participating, 19 free and 11 at $.99. Go to Moniquebucheger.blogspot.com for full details.

Creating Your Own Mythology

June 19, 2013

Ace Jordyn

Ace Jordyn Craft & Skills Fantasy Ideas & Plotting Outlines Setting and Milieu Storyline World-building Writing Tools 4 Comments

Creating your own mythology – how cool! And loads of fun! We write in an era where readers embrace modern and new myth. When Bram Stoker penned Dracula, he took an obscure legend, gave it its own rules and a new mythology was born. Today, we understand the social action and values for vampires, werewolves and zombies. This is newly created mythology has been embraced by generations of readers. In Tolkien’s books, the fantasy world received a new mythology Middle Earth and that lore, that mythology, is still embraced by people today.

There are those who argue that because myth is defined as being of the distant past, that it has its own cultural criteria and that it requires organic growth in a culture, that it can’t be instantly created. Humbug! Myth is a way for people to reconcile the paradoxes of life – the things that don’t make sense to us. How was life created? How do the gods and people interact? What are the rules for interaction? Apply it to everyday life and we can call it religion. Apply it to books and we call it world building.

And perhaps that is the difference – scholars will argue that because what writers create isn’t part of the everyday, ordinary belief systems for people, then it isn’t legitimate myth. But who draws that line? Who determines when an idea crosses that line? And does it matter? Is it any less compelling? I think not. We no longer believe in the Greek Pantheon of gods yet they’re as popular as ever in literature like in Rick Riordon’s Percy Jackson and the Olympian’s series. Do we have to believe in those specific gods for the mythology to be relevant, to explain creation, our relationship with the world, our struggle with life’s paradoxes and our need to have legitimate heroes to inspire us? Not at all. When we delve into other people’s belief systems, we challenge and enrich our own. We discover new ways to escape and to solve problems.

Mythology creates rules. How do heroes, people and proto-people (vampires, werewolves and the like) behave? What kills them (silver bullets, kryptonite or a stake through the heart)? Who are the gods, and what are their rules? How did creation happen and what happens after death? Why are their problems? Can man solve them or is he powerless?

We’ve established that not only can we create new mythology we must do it to explain the rules of the new worlds we’ve created. And many myths born of ancient legends and modern science are being created and believed by people (no judgements here). This is the mythology of ancient aliens coming to earth for their own purposes and seeding mankind (biologically and technologically). It is all a way to rationalize, to understand our history, what makes us human and to explain the anomalies and paradoxes of who we are and where we’ve come from.

And where will the next new mythology arise? The future. Outer space, I think. With the newly emerged and proven theories of space and time and the universe expanding faster and faster (not more slowly as some would believe) to end up in a black hole that swallows it entirely – like how do we explain that? Mythology, that’s how. A futuristic mythology born of predicted apocalyptic events. How cool would that be?

In creating the mythology for my books, I look closely at the world I’ve built along with the premise of the story. Mythology is about explaining how things came to be. Why they are the way they are. Why people believe as they do. It’s answering these questions that makes a world unique and believable. In one series, I asked what makes this one item so valuable? Why is it such a threat? How did it get where it is? What happens now that it’s been loosed upon the world? What do people believe about the item and their power to change destiny?

In the historically-based fantasy series I’m currently working on, the creation and afterlife myths mythology are crucial to how this world acts. The problem is, there is very little information about societal beliefs for the time period I’ve chosen to write about and I’ve been scouring academic journals for months. And that, for a writer, is perfect! From minute tidbits of factual information on tools, trade and astronomy, I’ve got just enough information to ground the story in history yet enough leeway to create a whole new mythology as to why things were done the way they were. This has forced me to really see the world through my characters’ eyes and in doing so, their actions and reactions have a genuine truth. And in doing that, the story has become so real, so alive and so fascinating!

You can take more modern or current historical events such as the decay of an empire, an evil despot trying to conquer the world, invading armies, geological tragedies, interpersonal tragedies, whatever you wish – take these larger events and change the details of the experience. Create a new world, a new way of looking at things, a new mythology which your characters use to explain their circumstances, their world, why the scourge seeps through the country – use all that to create and influence your hero, your proto-humans and your society. Or, take one of the ten basic creation myths, put you own spin on it and ask yourself, how would this influence a given society? Again, Rick Riordon did this in his series when he brought the Greek gods to America. Neil Gammon has his own unique spin on mythological figures come to the Americas in American Gods.

So go for it! Create new worlds with ground breaking, mind bending mythologies. There’ll always be a flick of our modern realities and value systems in them, how can there not be? Besides, those bits of our world in them is what will make the issues, the dilemmas and the challenges ring true for the reader. Mix, mash and have fun with it.

In tomorrow’s post I’ll talk about how I create new mythology for my worlds.

Happy mythology building!

Critiques Gone Bad – Critiques Part 3

April 16, 2013

Ace Jordyn

Ace Jordyn Author's Perspective Critiques Evaluation Tools Making Progress as a Writer Reviews The Writing Process No Comments

In Part 1, I talked about why we write and why receiving a critique can be so difficult and in Part 2 we discussed what a critique is.

I’ve seen critiques gone bad – so bad that when the author tried to incorporate everyone’s suggestions, he ruined his own story and in another instance, the writer gave up writing for a while. Sometimes it’s hard to find the right group of people or even one person, who understands that observations and comments that help strengthen your work do not need to include wholesale shredding,

So, how to avoid a critique disaster?

What you can do to prepare yourself:

1) The most important thing for you, the author, to remember is that the critique helps you to switch hats – from the creative to the editorial. Remember that creative ALWAYS needs editorial and creative is usually scared to death of editorial. That is why some authors put their stories away for a while before embarking on the editorial journey – to give their creative sides time away from the work so that they can approach the revision and editing process more objectively.

2) Submit your best work and understand what type of critique you are looking for: a reader’s critique, a line by line critique or both? A reader’s critique is one in which the reader tells you what is working and what isn’t, where she was engaged and what threw her out of the story. The points listed at the end of this article can help guide the reader on what to look for. A line by line critique happens when all the other elements of the story are working well and the manuscript is is reviewed for consistency in language, metaphors, grammar, excess wording, etc. Generally, good critiquers will not give you a line by line critique unless they know this is more than a first draft. They can tell that by how strongly your story holds together in terms of plot, consistency, style, character and setting. Only then will they focus on line-by-line edits to polish the story.

2) Understand that some people can’t help but shred, rewrite and go beyond what is asked for. Take what you need and leave the rest but for goodness sake, don’t take it personally! Have confidence in your work and move on. Know that you can’t and don’t have to use everyone’s suggestions.

3) Know you may disagree with someone’s comments but do not take issue or become defensive. Instead become curious as to why they made those comments. Was there a misunderstanding or misinterpretation of some sort? If so, the reason for the comments may need to be addressed. Sometimes a person’s comments may simply be wrong. They may offer bad or unwelcome suggestions or see problems where they don’t exist or miss existing problems. Ultimately, you must choose the feedback that works for you.

4) Understand who is critiquing. Not everyone may be familiar with the nuances of the genre you are writing in or the age level you are targeting and that may pose problems. Short story writers and novelists may have different views on pacing, description, speed of character or plot development. You need to understand the person who is responding to your work to give their comments appropriate context.

5) Above all, be respectful and gracious. This person took time from their other activities to help you.

What you can do to prepare others:

1) Tell them what stage this is in. First draft? Final draft needing polishing before submission? This should include information about the intended market such as Writers of the Future submission, YA novel, adult historical fantasy, etc.

2) Be clear about what you are looking for – first draft I always ask for a reader’s critique. What is working? What keeps you in the story? What isn’t working? What throws you out? Do the character’s actions ring true?

3) It’s good to tell others where you have concerns. For example, 1) I’ve rewritten the beginning several times and am not happy with it. What’s working or not working? Is this the right place to start the story? 2) Does the science make sense? Is the world I’ve created consistent and credible?

Here are some points used by writers and in critique groups that I belong to. Use them to help focus the questions you want answered, or if you’re looking at someone’s work, use them as guidelines of things to look for. Some will use this as a template, while others may only touch upon pertinent points.

General impressions: An overview of what worked and what didn’t; critiquer’s theory of theme, premise & plot summary; first impressions on title, emotional response, stumbles, questions and expectations; if the story is satisfying; and how well does the title work?

Plot:
It the problem clearly stated?
Is there a full story arc?
Does the opening/hook work?
Is there rising action & a climax?
Is the resolution complete?
Did something change?
Are there plot holes?
Does each scene work?
Is there appropriate revelation throughout the story?

Consistency:
Are there places where suspension of disbelief fails?
Is the internal logic consistent?
Does the narrative flow with proper pacing, rhythm?
Is there sufficient conflict (of all types)?

Style:
Is the style of writing appropriate?
Is an appropriate narrative tone used?
Is dialogue stilted or otherwise out-of-place?
Is there a proper balance of narrative and dialogue?
Is there appropriate narrative tension?
Is Point of View consistent? The best choice or mix?
Is tense consistent?

Character:
Sufficiently developed & distinct?
Do they speak with distinct voices?
Do they change?
Do they have believable motivations & behaviors?
Are there too many characters?
Do they have appropriate names?
Do they have strengths & weaknesses?
Are the interesting?
Is at least one character sympathetic?

Setting:
Is it complete or full of holes?
If a character, is it fully developed?

Technique summary:
Are there technical problems? (its vs it’s?)

Remember that the purpose of the critique is to help us polish the gem of our story until it sparkles in its brilliance. So, keep your eye on the prize, have confidence in what you’re doing, revise, polish and above all, submit your work!

Quotable Moments, Part One

April 2, 2013

Evan Braun

Ace Jordyn Craft & Skills Evan Braun Guest Posts Writing Tools 2 Comments

From the very beginning of our site, we have been inspired by professionals. If you want to be a success, after all, start by hanging around successful people. In that vein, we have worked hard over the past two years to find a broad range of professional guest bloggers. Some are other writers like us, at the beginning of their careers. Others are bestselling authors who have hit the New York Times bestseller lists many times. We have mystery writers, romance writers, fantasy writers, science fiction writers… you name it, we’ve had it (or we’re still trying to get it!).

If you’re new to the Fictorians, you may have missed many of these guest posts, which is why Ace Jordyn tirelessly combed through our archives, assembling a list of some of our greatest hits. It wasn’t an easy task! So grab a cup o’ tea, share a genre cookie with Sarah A. Hoyt, and follow the links.

As always, you’re welcome to leave a comment, share your experiences, and let us know which of our many guest bloggers speak to you. And there’s a lot more where this came from! Come back tomorrow for a whole second round of quotable moments. Cheers, and happy reading!

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In a mad dash I edited, edited, rewrote, and then uploaded Weight of Blood for 99 cents. I basically tried to outrun my doubt and fear, because I knew if I delayed I would eventually wimp out. So on sale at Amazon went my first book. I figured fifty sales a month would be fantastic. Heck, on the first day that I sold five copies, I called and told my brother, all ecstatic. (David Dalglish: The Triumph of the Dalglish: How I Sold 200k Novels While Not Knowing Squat)

It’s an illusion, you see. The phrase we use is historical accuracy, and it is as important to the genre as the willing suspension of disbelief is to fantasy. The world must appear real, torn from the pages of a text book, and the more real it seems the more latitude the writer has in introducing anachronisms. And ancient historicals require anachronisms; they require a touch of inaccuracy in order for the writer to translate the attitudes and mores of so remote a time into modern vernacular. (Scott Oden: Weaving a Tapestry of Words: the Art of the Ancient Historical)

Traditional publishing means you have gatekeepers. Are they always right? Of course not. Are they right a lot? Absolutely. And the checks and balances of traditional publishing mean that you’ll have a professional product when you’re done, and that really does matter, especially when you’re starting out. (Gini Koch: Why I Like Traditional Publishing)

Steampunk is the cheeky tendon that connects a cynical present to an equally flawed, yet more colourful and idealistic past. (Billie Milholland, The Maker Spirit of Steampunk)

So before you write cross-genre, you need to be aware of what readers of each genre expect. This is best achieved by reading both (all three?) genres you’re crossing, so you’re aware of what the readers expect from each. And hey, once you’re aware of it, you can give the readers special “genre cookies” which will make each of them very happy. (Sarah A. Hoyt, What’s in a Genre?)

Science fiction relies on the laws and principles of science both for world building and for problem solving. That means cause and effect, the conservation of matter and energy, measurability and certainty. The laws of physics can’t be broken on a whim and mysterious and mystical “forces’ can’t be called on to save the day. Star Trek (“I kenna break the laws o’ physics, Captain”) is science fiction; Star Wars (“May the Force be with you, Luke”) is fantasy. (Hayden Trenholm, Science Fiction: Our Conversation with the Future)

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 greater the story, the greater the horror. (Craig DiLouie, What Makes Good Horror?)

That’s a balance authors have had to work with for decades, if not centuries-the idea being that promoting your book keeps it in people’s minds. Right now you can do that through engaging blog posts, being on Twitter, going to conventions, doing book signings, and all of these things. They take time. If they take so much time that you’re not writing your next book, then the question becomes are they worth it? (Brandon Sanderson, Brandon Sanderson Dishes on Publishing)

I started my self-publishing experiment last August when I published The Demigod Proving. In November I followed up with Keep Mama Dead… But there is one thing I have learned, that I’m qualified to talk about, and that might be useful to you: you should give up your unreasonable hope, and maintain your reasonable hope. (S. James Nelson: Abandon All (Unreasonable) Hope)

Writing tie-in fiction isn’t for people who think writing is an art, it’s for the folks who know it’s a business. You have to be able to work under pressure, absorb a lot of information quickly, change gears on a dime, and abide by strict rules, like non-disclosure agreements (NDAs). If that doesn’t sound like fun to you, chances are good that writing tie-in fiction would just leave you frustrated and with only half a head of hair. If, on the other hand, it does sound like fun, I’d suggest a visit to your doctor-they have medication for that now, heh. (Marsheila Rockwell: Tie-in Fiction)

I regularly write, and publish, an average of 300,000-500,000 words each year. To me the word “office” is only a loose term for the place where I get my writing done. I can sit in a bustling coffee shop with headphones on, and disappear into my story. I can take notes on the paper tablecloth in an Italian restaurant. I can write anywhere. (Kevin J. Anderson: Outside, In the Office)

Like the Romans, we turtle up, trying to buy ourselves the time for intel to catch up to the environment and give us a good look at what we’re dealing with. There really wasn’t a lot of difference between goblin clans and the Jaysh al-Mehdi in this case. Both were totally alien to us. Both were potentially deadly. (Myke Cole: Capturing that Military Feeling)

When you put yourself out there, you lose all control of how people perceive you. They see through their own lens. Try not to take it personally (yeah, right)… (Mercedes M. Yardley: Your First Hate Mail: How Life Can Change After Working for a Magazine)

Sometimes publishers don’t take books that are perfectly good because the books don’t stand out. Sometimes the books have major flaws. Sometimes, though, the world’s just not ready for the author. (David Farland: The Future of Publishing Is Self-Publishing)