Fantasy setting experience

When I experienced the movie Avatar in the theater it enthralled me. Notice, I'm not only saying I saw it. I experienced it. It drew me in. The characters came to life but so did the Pandora fantasy setting. The 10 foot-tall humanoid cat-like species known as the Na'vi lived in harmony with their fantastical world. In looks, it reminded me of the Yessongs Awakening print by Roger Dean from back in the 70s. Falling in love with the Na'vi and their world was instant, and with it's 3D effect, it ranked near the top among movies worth seeing on the big screen.

The Avatar story starts with a common futuristic theme. Earth suffers an energy crisis and with its natural resources depleted the humans are harvesting what they need from space. In this particular story, the RDA (Resources Development Administration) plans to mine a valuable mineral from a forested moon known as Pandora. The story gets interesting quickly. With an atmosphere poisonous to humans, and the Na'vi who are one with their world, instant conflict arises.

Importance of setting in fantasy writing

I could go on about the movie, but what I want to talk about is the importance of setting. In a story, characters function within the setting as the story unfolds. If surroundings are not clear, strong characters can usually pull off the scene, but if that's the case, we're cheating the reader. It's like eating a slice of pizza without smelling it cook, without the anticipation of waiting for it to be done cooking, without choosing favorite toppings. A weak setting throughout the book makes the story less interesting. A setting that doesn't provide sounds, smells and visuals to create a complete experience within the reader's imagination, even with a great plot, will be mediocre. If Dorothy is told to follow the yellow brick road but we never see it, feel it, hear our footfalls click upon it...we feel a little lost.

 

 

Engage the senses

Along with creating a visual, it's important to engage the other senses. You want to deliver the whole package. To do that, a fantasy world needs to be experienced on more than one dimension. As you write ask yourself what makes your fantasy world different than the real world? In some cases it might be fantasy characters like dragons, fairies, elves or other lifeforms walking around in a world much like the one in which we live. Whether or not you've created a whole new world or have decided on a world similar to the one in which we live, it takes more than landscape, unique creatures and characters with special powers. To help give your readers a complete experience ask these questions:

• What smells and tastes are experienced?
• What customs are practiced?

Avatar answers these questions in such a way that you are drawn in and become one with the world. In the Wizard of Oz, Dorothy learned the "custom" for her to return home required her to retrieve the Wicked Witch's broom and bring it to the wizard. Many times these small details play an integral part in the plot, but are so subtle that it isn't realized until the climax and/or conclusion of the story. Without them, it's like a tapestry with threads missing leaving bare spots that detract from the picture and make it less than it can be. 

 

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Photo credits: etsy.com

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About The Inheritance by Donna Sundblad

Written within the allegorical tradition of classics like Pilgrim's Progress, The Inheritance offers a literal but symbolic story for today's fantasy enthusiasts. This cleverly devised tale doesn't tell you what to think, but stimulates thought as to why you believe what you believe in your own quest for the Eternal City. The Inheritance is an ideal discussion starter for youth groups, homeschoolers, and families who enjoy meaningful discussions. 

 

The Inheritance is available on Kindle, paperback on Amazon, Barnes & Noble, Kobo (Christian fiction), Smashwords and Google Books. When you read it, be sure to leave a review! Thanks for your support. 

Coming soon! Dragonborn by Donna Sundblad

Coming soon! Dragonborn by Donna Sundblad

Dragonborn conjures up a winning fantasy with dragons, humans, time travel, and magic. Follow the journey of the young prisonguard, Ervig Greenfields, as he seeks out dragons to remove a curse. The dragons offer him access to the Labyrinth of Times, which will purge the dark magic. But there’s a catch. Erving must take the Dragon Oath that requires allegiance--to fight alongside dragons for centuries, never to return to his own time. He and a handful of others take the selfless oath and become Dragonborn. The Dragonborn and their dragons become seeds of change, in this epic tale, of sacrifice for the greater good. Ride along with them as they slip through a tear in time to the past to change the future.

 

Balance the Missing Ingredient - Part 2

Part 2 - Balance the Missing Ingredient

by Donna Sundblad

Don’t Digress

Study your manuscript. Have you skipped important details readers want to know while expounding on minor details? Don’t paint the picture of characters loitering at the diner at the truck stop if the characters inside don’t play an important part in the story. Although the interaction between the waitress wearing the bright lipstick and the scrawny truck driver puffing on a cigarette at the bar may be well-written, if it doesn’t matter to the story, it needs to be eliminated. What the reader needs to know about is what is happening in the parking lot? If your protagonist wasn’t able to change the tire and walks to the truck stop nearby does she find trouble or help in the parking lot? Don’t get sidetracked by unimportant details. It waters down the tension. Take out the unnecessary diner details and spend the time outside in the parking lot. I’m not saying every diner detail, just the unnecessary. Draw attention from the diner to outside through the window. Show apprehension on the face of the man looking out the window. Is he the one waiting for the woman in red or a hero waiting to rescue her? Expand pertinent details to keep the pace moving.

Pacing

Pacing or the timing used to move your story forward is accomplished through the use of dialog, incidents, and anecdotes. Using the above example, imagine tires of a black pickup truck squealing into the parking lot of the diner. Headlights spotlighting the middle-aged woman struggling up the ramp into the parking lot offers detail to move the story along. The reader knows the main character hoped to meet a potential love interest here. What happens next? That’s what you want to know and it’s what you want your readers to ask.

“Hey, pretty lady, you look like you need some help.” The burly man stroked his full, tobacco-stained beard like a pet.

“No, no thank you.” She smoothed her hand across her greasy midsection. “My friend is meeting me here.”

Dialog moves the story along. Could this guy be her suitor, or is he a treat? The tension mounts. Dialog should accomplish something. Use it to show the characters’ personality or shine light on information previously unknown. To ensure balance be sure not to force information into dialog in an unnatural way, or allow characters to uncharacteristically perform actions just to make your plot work.

Transitions

Transitioning from one subject or setting to another requires a connecting link. If the story thrusts the reader into a new setting without warning, and confuses them. It leaves them asking, “How did they get there?” and distracts them from the real story. A transition connects scenes. Even if it is one sentence long, a transition adds continuity and logic to the flow of the story.

Balance

Another type of balance is the balance of sentences. Have you ever read a story aloud and tripped over words, or went back to reread because something didn’t flow? Vary the length of sentences. Mix up the length of words used. Read your work out loud and listen. Does the story flow?

Imagine the details of your story to be sand in an hourglass. Each detail is a grain of sand. The top end of the glass contains conflict and tension, which transitions and leaks into the second half of the story. A consistent flow of particulars trickles into the bottom of the hourglass, where each grain of conflict mingles with pertinent details forming an interesting pattern that presents a satisfying resolution. That’s the missing ingredient. The balance of details as they flow and mingle without stopping.

How to Dress Your Victorian Female Character - Part 1

When writing a Victorian era fantasy novel, even though it's fantasy, you'll want your world and characters to represent the period with accuracy. Even if you loosely develop a fantasy world based on the Victorian period, the information in this article will help dress characters in Victorian style apparel with enough detail to make it real in the reader's mind.

In this article we'll study the clothing of a Victorian Lady. Lady was the proper title of any woman whose husband ranked higher than baronet or knight, or who was the daughter of a nobleman not lower than an earl. A Lady's affluent lifestyle followed fashion. With that in mind, this article takes a look at how to dress a fantasy character based on historical dress.

Details down to underwear reflect a Victorian character's placement in time. In the first half of the nineteenth century undergarments served a utilitarian function. At that time, underwear lacked trimmings and decoration. But in the second half of the century, frills like lace and embroidery came into style. When dressing or undressing your character, keep details period specific.

Basic Victorian Undergarments

• Chemise: a loose-fitting, white linen shirt-like undergarment designed to hang straight from the shoulders, fit loosely at the waist, sometimes more tightly at the hip and reached to the calf. You'll want to research neckline shapes and other small alterations for the timeframe of your story.

• Drawers: an undergarment that covers the lower part of the body with legs reaching to the knees. Legs of this garment were sewn separately leaving the crotch open. Drawstring casings gathered at the back above a loose-fitting seat. This loose fit design prevented the open seam from separating. Again, depending on the exact time frame, you'll want to research whether the legs to the drawers for your character should be flared or wide, or gathered at the knee.

• Corset: a close-fitting undergarment, stiffened with whalebone or similar material and often tightened by lacing. It fit tight around the trunk of the body. Women wore this garment to shape and support the body. It was worn over or under the petticoat.

• Petticoat:(most often made in one piece with the bodice attached) Commonly made of flannel, this garment worked as a slip or underskirt worn for warmth and to hide the contour of a woman's legs. Often a decorative petticoat was full and trimmed with ruffles or lace. Three Petticoats were usually the minimum worn.

• Stiffened petticoat, crinoline or bustle: Several petticoats were worn to support the bell shape skirt (before the cage crinoline in the 1850's). Early petticoats were starched and corded (cords ran through them to hold the hem out). Petticoats changed with fashion. As you design your character's wardrobe, consider the decade you want to target within the Victorian era. Do some research. Should your character be wearing a narrow paneled skirt or a wide bell skirt? Bustles came and went. Be sure to check if it is appropriate to add a bustle to your character's fashion sense.

• Decorative petticoat: Depending on the year, decorative petticoats included things like flounces down the back, popular colors like scarlet or added decoration at the hem that showed below the hem of the dress

Don't leave your character standing there in her undergarments. Be sure to watch for part 2 of How to Dress your Victorian Female Character to give her an authentic look.