Magic, Fantasy and the Element of Plausibility

In my stories I try to be as close to reality as possible, while adding just enough fiction to make things interesting. I am personally not a fan of sword and sorcery styled fantasy, because so often magic is used as a cheat rather than a tool. There are no consequences to the use of magic and the power it bestows on the user is apparently limitless and conveniently requires no training to use. Granted this is not one hundred percent the rule. Creators like George R. R. Martin, Peter S. Beagle, and to some degree J. R. R. Tolkien are fair at keeping the science in magic.

There it is. The science to magic. It is not this thing that falls into the hero’s hands at just the right time, for all the right reasons, and is his to command for no other reason than he is the hero and it just is. There is a logical explanation for all things in nature and magic is simply the science of the fantasy world.

Magic as a Science

     Alchemy is likely the premiere thought that comes to mind when considering science and magic in the same sentence. It is not the only one, but it is the most tangible to explain. Alchemy is really just chemistry. There are rules to how it works, and a means to an end. Without following the rules you could well not only fail to reach your intended result, but you could very well lose your eyebrows.

     This analogy should be the first thought on any writer’s mind when playing with magic. What are the instructions for use on this tool? Who should use it? What are the dangers? Who makes it? What powers it? What happens when it breaks down or used incorrectly? I am not here to tell you what your “magic” can or cannot do, but I will say, as a reader and viewer of some fantasy, I want to know that you understand what you are messing with. You would not give anyone a drill press without some guidance and proper protection, your magical/ mystical/ god-given epic/ awesome/ all-glorious orb/ rod/ medallion/ crystal of knowing/ being/ controlling/ some-other-power should be no different!

Real Magic

     When I was a creative and lonely teen I admit to snagging a few mystical tomes from the local psychic fairs and Pagan shoppes. As I read all these awesome things that were possible with the use of magic, sympathetic magic mind, a reality began to form. There are a ton of rules to this little game and a lot of things required to make this work! This, I think, is what really formed my need for plausibility. Well, and my overt obsessive-compulsive need to make charts, lists, graphs and notes on everything.

     I recommend grabbing some books on the following subjects to understand magic before writing it into your character’s life; mythology, angelic languages, ancient languages, alchemical symbols, medicine, plants, astronomy, lunar cycles, divination, eastern and western religion. But, goodness steer clear of anything that spells magic with a “k”.   

Practice, practice, practice!

     Magic is an art as much as a science. Your character should not be awesome at it from the get go. Also, and goodness knows I love to play them too, but only in video games are characters allowed to simply level up. I understand that in anything, when it finally clicks it feels like a level up and seems like it happened instantly, but think about the time and effort it really took. It isn’t fair to your reader or your character to win just at the right moment without a bit of struggle first.

     Your character knows he is going to have to fight the big baddie and he knows he needs to sharpen those magic claws on something before that meeting. Give him little moments to work this out. Maybe he should lose his eyebrows once or twice?

The Grand Finally

     Is it luck, genetics, or hard work that gave your character the power in the first place? And, which of these things allowed him to perfect it? How long does it last and what are the consequences? Only when you are willing answer these things can you master the art of plausible fantasy.

     Spend some time trying to memorize and pronounce an ancient language, or drawing the perfect alchemical symbol. Better still, try it while running in circles at night, wearing a moo-moo and house slippers, a necklace of sausage around your neck, fending off your neighbor’s yapping Chihuahua. Yeah, that should make you sympathize with your heroes.

Pirates, Hot Ace, and Mermaid Birthdays

The story of Captain Blackstrap Gennie is full of strong female characters and men, real, hardcore men, willing to accept them. Complete fiction, right? Of course not! Historically as well as presently, there are power females gallivanting about, and they pal around with some pretty tough guys.

Her part in His-story

Some of the most prominent pirates throughout history were of the fairer sex. When I use fair in this case, I mean to say firm, level-headed and enforcers of the pirate code.

Most fans of pirates know the name Jack Rackham, better known as Calico Jack. If you have not heard of him, look him up, he is one of my favorites! By default that makes him one of Blackstrap’s heroes. Calico Jack is in some ways similar to Marrick, Blackstrap’s loyal first mate and best friend. And, if Marrick is anything like Calico Jack, then one must be lead to compare Anne Bonny and Mary Reed’s relationship to that of Maggie Pye and Blackstrap Gennie. The historical trio, as well as the fictional, wrought havoc in the golden age of piracy and did so by breaking the cardinal rule of Western sailors – no women allowed.

Captain Hook…err

Exiling women from ships was not a hard and fast rule in all traditions though, thank goodness (badness) for Ching Shih. Think the idea of Gennie becoming the Korsana of the sultana and training the harem girls to take up the banner of piracy is a bit far-fetched? Well, then do a bit of research on the prostitute turned pirate queen. The men surrounding her learned right quick that Shih had dropped her former profession in pursuit of greater gains. Bedding any woman while on duty was grounds for execution.

Enforcing the rules in the ranks of her 400 ships was not this little “lady’s” only claim to fame. Ching Shih was also a top notch strategist and general. Maybe Shih and Gennie should set down to a game of chess?

Today

Still think that having a broad aboard, if not leading the battle, is beyond reality? How about this one? Most of the stories and characters in Blackstrap’s Ecstasy are based on actual events and people. Czep has a fair number of smart, strong, stunning female cohorts at her side and, while these women can hold their own in a confrontation they do have a few good men willing to come to their aid.

Visit the crew of The DREAD Fleet to see the inspiration in action! This Saturday, July 14^th, they make port at Hot Ace Comics (Mesa) from 11:00AM – 3:00PM and then the Phoenix Zoo for Moon Mermaid’s Birthday from 6:00PM – 9:00PM.

Captain’s orders, mate!

Rio Vista and Foothills Week Two: Dialogue

Week Two: All the Things They Say

If your characters are human they likely enjoy dialogue. We are a social species, we humans, and we are a little bit narcissistic too. Humans love to hear ourselves talk. We will run our mouths dry on a topic we are impassioned with. We have entire systems of education, and communities based on chattering at one another. So, what makes our characters any different? Purpose.

The dialogue in a story has intention. Whether the words we offer our characters to speak offer insight into plot or personality, they do have purpose. If characters are discussing the weather it should probably have some greater point than making small talk.

Exercise for Class or Group:

Trade Week One Dialogue assignments with another writer.  Write the dialogue for one another’s observed actions.

Was the description in the Week One Exercise enough to guess the mood of the characters?  If so, did you feel the dialogue added or reduced the flow of the ‘story’.  If not, how would you improve upon the description, what is missing?

Exercise for Lone Writers: 

Talk to yourself!  Walk around the house or sit very still, but always be looking in a mirror.  Let the dialogue flow.  Just be a chatterbox.  Soliloquy your heart out, or tell someone how they have made you feel and play the part of the other too, listen to the responses. 

Or

Maybe mom was wrong, eavesdropping could be good for the writer’s soul.  Play super spy at a public location.  Listen in and try to write down the conversations of those around you.  Note little nuances of speech and if there is a gesture or facial affect that goes with certain moods.

Rio Vista and Foothills Week One: Action Only Exercise

 I Promised to post this. Like I mentioned in class at Foothills, it is not what one might think is going on, but it was fun either way.

Week One: Action Only

 

Mike sighed and took the first step toward the diner door.  He scanned the dining area for the reason for his visit. 

He was seated at the counter, concentrating intensely on the cup of steaming coffee in front of him, a man in unassuming suit.

Mike slid onto the stool beside the man, and turned the clean cup in front of him over to accept hot coffee offered by the passing waitress.  He waved the girl on before she could ask the typical, managerially programmed questions.

Mike leaned to mumble to the quiet man. 

The man did not so much as tip his gaze from his coffee to respond.   

Mike tapped anxiety around the coffee cup.

The man in the suit offered nothing in his demeanor to betray his emotions. The man looked from his coffee to direct his attention on Mike.  Mike leaned away impulsively as the man’s eyes caught him.

Mike focused on his own coffee cup.  He wished he had not made contact,

The man continued to stare at Mike, the coffee cup forgotten.

Mike glared in the man’s direction a flash, but avoided extended eye contact.  The man smiled, showing teeth glowing white.

Mike looked away. Mike swallowed his trepidation.

The man sipped his coffee.  He made no exhibition of the heat though the cup was steaming.  The man tried to lock with Mike again. His smile wolfishly displayed.

Mike sipped his coffee.  His face contorted as the liquid scorched his tongue. He set the cup down.

The man raised an eyebrow; Mike watched it instead of the glinting blue eye below it.

 The man sipped his coffee.  His focus floated around the emptying restaurant. He drained his cup and tossed an assortment of change onto the counter.

Mike covered the coins from the passing waitress, she scowled but continued by.  He did not want to give the waitress grounds to send them away.

 The man nodded.

Mike noticed the attempt at eye contact.  Mike looked away then back again.

The man leaned away slightly.  He smiled and straightened in his seat.

Mike’s eyes darted around the diner. 

The man put a hand on Mike’s arm.

Mike drew away, slow enough, he hoped, not to draw attention to his alarm. 

The man settled his hand back around his coffee cup.

Mike worked to regain a more offensive pose.

The man seemed finally to reconsider the situation Mike put him in.  He looked Mike over; he nodded.

The man’s hand indicated an empty booth near the door.

Mike’s suspicion held him in his seat for only a moment.  His curiosity wanted to take the chance.

Rio Vista and Foothills Classes Week One: No Dialogue

Action Speaks Louder Than Dialogue

Dialogue is a great thing, it is also very difficult to perfect. Before even getting inside those quotation marks there is much work to do! The action surrounding any dialogue is often more important than the words said by the character. This is as true in writing as it is in life. You have been there, I am sure, in a conversation with a client, friend, or new acquaintance, and you are feeling things out. It is not so much about what he is saying as how it is being said. 

In life we watch for the little things, even if we do not realize we are watching; the girl twirling her hair as she speaks to her lover, the widening of eyes as a friend tells of an exciting night out, wringing of hands when waiting for important news. We all do this and we all watch for it. Why not make that as clear in our writing? 

The exercise in week one focuses on this process by taking away the dialogue altogether. Try it when editing a piece. Pull all of the dialogue and save it is a separate file. Does your story carry well without it? Do your characters speak as clear with their body language as with their words? Are your characters saying something completely different in action? These are all questions that make for a strong base to build dialogue upon. 

In some rare cases, dialogue is not even required to carry the plot of a good story. Take the example of Raptor Red by Robert T. Bakker. Paleontologist, Bakker, wrote the story of a young Utahraptor through the eyes of the dinosaur. With a main character whom has no distinguishable language the weight of the story falls on description alone. I read Raptor Red some years ago and was surprised at how wrapped into the characters I became. 

So, it can be done! This is not to say your goal as a writer should be to remove dialogue from your toolbox, only to imagine if you had to. Keep in mind as you work on exercises without dialogue to make note of mannerisms and emotional cues. You might find yourself reading people better too.

Rio Vista and Foothills Classes Week One: Everyone is a Character

Classes at Rio Vista Community Center and Foothills Aquatic Center have begun again! I am always so excited to meet new writers, and the Junior Authors class just gives me so much hope for the future. Class sessions are eight weeks long and each week, at least once, I will post the in class assignment and basics of the discussion. If you do happen to miss a class this is a great way to catch up. It is also just in case I got to chattering too much and didn't really cover the topic I intended. 

So, here it is, week one.

Everyone is a Character

One of the many things I have noticed as a writer is that my mother, and likely yours too if she was a good role model, was wrong. It may be rude to stare and tactless to point out the little ticks that each person you meet might have, but it is also how we make our characters breathe.

Exercise for Classroom or Writing Group: 

Have each writer choose one person in the room, do not mention who, write a detailed description of his/her mannerisms. Description of hair color, eye color, complexion and dress are okay, but this is more about the way the person behaves and carries rather than the police sketch artist interview.

Learning to pick out subtle gestures and twitches in each person you meet makes your characters more believable.  Have you ever read a book or watched a film, and thought; “oh I know that guy”, when a character enters with a certain something you have encountered?

Exercise for Lone Writers: 

Do you have pets or very young children?  Take the time to observe their actions.  Convey their emotions, needs, personality without the use of dialogue. Babies and animals have the most expressive faces and body language, making it easy to understand their desires if we just pay attention.

Or

Visit a crowded location - airport, mall, restaurant, etc.  Wear headphones or earmuffs.  The point is not to be distracted by the sounds, just take in the sights.  Choose a few characters and describe, in action only, their interactions.

*Note: If you wear the earmuffs, especially indoors during warm weather, noting facial expressions should be much easier.