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.

 

Magic Rules Part 2: Limitations of Magic – At What Cost?

by guest author P. June Diehl (used with permission)

Fiction is about conflict, and fantasy is no different. Magic cannot be an all-powerful force, or there would be no conflict: If anything and everything is a possibility, then nothing would be interesting in your fantasy world.

I’m not talking about rules, at least not yet. That’s the subject of the third article in this series. Setting limitations allows the author to focus on story elements: tension, conflict, plot, etc., whereas, rules are part of a worldbuilding system.

Magic vs. Intelligence and Strength

While magic can be used to get the heroine or hero out of a sticky situation, it’s not the only or always appropriate way out. The protagonist has intelligence, strength, and other non-magical abilities to be called into use. Use those first. Only use magic as an out when there’s no other way.

On the other side of the mirror, we have the antagonist, who might appear to have no limits to his or her magical power, but if that were true, our heroine or hero would lose in the end. The editor or agent reading your manuscript would be disappointed, and the author would not be offered a publishing contract.

Limitations of the Magical System

Any character who uses magic in a fantasy world has to deal with natural limitations of that magical system. Magic is a wonderful force in a fantasy story, but it’s also a dangerous force. This adds inherent conflict to the plot: not only is the antagonist trying to stop the heroine or hero, but those who love and support the protagonist might also not want her or him to use this dangerous power.

Magic can have limitations in other ways. Maybe it only works as desired 60% of the time. Perhaps the outcome is predictable half of the time. Possibly the side effects change over time.

Another aspect a fantasy author must remember is that if you take away the magic, the protagonist and antagonist are people, with their own limitations and flaws, their own strengths and salvations. Accent these and let magic play a secondary part in your plot.

A character’s current situation might also limit the use or outcome of his or her magical power. What happens when the hero has a cold or the antagonist didn’t get a good night’s sleep? How might this affect the ability to use magic effectively?

Fantasy characters make mistakes including mistakes with magic. This adds additional conflict and tension and shows the character dealing with an outcome not intended or expected. Maybe the character has to deal with guilt as a result of a mistake in using his or her magical power.

Develop Real Fantasy Characters

Fantasy characters are more than their magic. They feel, they think. They have dreams and fears. Your characters need to be well rounded people, with aspects of goodness and a pinch of the dark side. Focus on them as characters first, as magic users second.

Anyone who uses magic in a fantasy world must keep in mind the limitations, which make the story believable, and allow the author to develop tension and to create conflict. Remember: no conflict – no story.

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P. June Diehl is the author of The Magic & the Mundane: A Guide for the Writer’s Journey and working on a second book for writers. Her short stories, articles, and poetry have been published in print and online. June works as a writing teacher/mentor at Pearls of Writing and Writers Village University. She is the Editorial Director and a Senior Editor at Virtual Tales, and a Lead Editor with ePress-Online.

Magic Rules - Part 1: Types of Magic--The Source Be With You

© 2006 by guest author P. June Diehl (used with permission)

The illusive art of magic governs, unites and even conquers fantastic fictional worlds with enchanted powers. Fantasy authors must decide the types of magic allowed to work within the created fantasy lands. What choices of magic do fantasy writers have to choose from? And a second important question to ask when writing fantasy: What is the source of your magical system?

Why is it important to understand the type of magic in the fantasy you create? Once you identify the type of magic you wish to use, defining limitations and rules comes easier. Knowing the source of the magical system helps focus on the mundane rules you’ll need to understand how to create a believable fantasy world.

The following are examples of magical systems. Some overlap so one fantasy series might include several of these types. This is not meant to be an all-inclusive list of the different types of magic, but a starter to help focus on your magical system.

AURA MAGIC

The aura is the life force of all living things. The energy generated by this life force is used to generate magic. One use of this life force created magic is any fantasy where the source of the magic is from the charkas. The children’s classic, The Children of Green Knowe, is an example of aura magic, or Jennifer Lynn Barnes, juvenile fiction, Golden.

BINDING MAGIC

This mysterious, mystical force binds all that exists in the universe, it works as the thread that connects all things, living and otherwise. The Wheel of Time series by Robert Jordan makes use of this concept.

CHAOS MAGIC

This is a modern form of ritual magic. The source of the magic is some mind alternating technique: music, dance, chanting, drugs, etc. An example might be Alan Dean Foster’s Spellsinger series.

GOD/GODDESS-GIVEN MAGIC

The source of magic in this system is an advance being, whom mortals see as a god or goddess. Remember: what is so readily given, can equally be taken away (and usually at the worst possible moment in the plot). Harry Turtledove’s The Case of the Toxic Spell Dump has elements of magic, or power, given to humans by a deity.

GOOD VS. EVIL MAGIC

The source of this type of magic might be the same, but the outcome is juxtaposed, based on the intent of the manipulator. The source of this magic is both outside and internal to humans, or whatever type of character the magical user might be. Robert Goodkind make use of this concept in his Sword of Truth series.

HERBAL MAGIC

This is inclusive of any ingredient-based magic, like the fairy dust used in Peter Pan. This type of magic is also found in Sharon Shinn’s Summers at Castle Auburn, and Scent Of Magic by Andre Norton.

MEDITATIVE MAGIC

Either meditation or concentration is used to create magic – the “mind over matter” concept. This can also manifest as an altered state of consciousness. A classic example is Philip K. Dick’s fantasy, The Cosmic Puppets.

NATURE-BASED MAGIC

Usually, this revolves around the four elements: earth, air, fire, and water. Elemental magic can be found in the fantasy world of The Oran Trilogy by Midori Snyder or Marion Zimmer Bradley’s Mists of Avalon series.

POWER ELEMENTS

Magic exists in all things but some objects hold more magic than others. These magic rich objects are considered magical artifacts. An example is the Winter of the World series by Michael Scott Rohan.

RITUAL MAGIC

Magic is created through the act of performing a ritual. This may or may not be based on a religion. In her Deryni series, Katherine Kurtz makes use of ritual magic.

SCIENCE-BASED MAGIC

The source is based in science, but must have a magical twist. For example: For every action, there is an opposite and equal reaction. Give this law a twist: Every time magic is used by an individual, the good produced as a result, also produces an evil side effect. L. E. Modesitt’s The Magic of Recluce and The Towers of the Sunset exhibit science-based magic.

SCIENCE INDUCED MAGIC

The premise here is that advanced technology is used by advanced beings, but appears to be magic by others. Science fiction author Arthur C Clarke’s “Third Law” states “Any sufficiently advanced technology is indistinguishable from magic.” Out of This World, the first of the Three Worlds Trilogy by Lawrence Watt-Evans, is an excellent example of Clarke’s Third Law.

SUPERNATURAL MAGIC

The results are the ability to read minds, telekinesis, being able to see across time or space, etc. The source of this magic is the supernatural, that which is beyond what is normally thought of as “natural.” In Katherine Kurtz’s Deryni books, the magic is inborn and presented as psychic in nature. Another example is the psionics in Marion Zimmer Bradley’s Darkover series.

SYMBOL MAGIC

In this magical system, symbols are used to represent more that they seem on the surface. When used by a magic weaver, these symbols take on a physical quality. Any fantasy that uses a system like Runes is an example of symbolic magic, such as the Death Gate Cycle by Margaret Weiss and Tracy Hickman.

SYMPATHIC MAGIC

Voodoo is an example of sympathetic magic. The focus here is that what is done to an object can be equally transferred to the person who once possessed that object, or by knowing the magical name of an object, as in Ursula K. LeGuin's Wizards of Earthsea.

“WE ARE ALL ONE” MAGIC

This is based on the concept that we are aware of our unity with all the universe, we are able to create magic by tapping into that unity. Robert Jordan’s magic system in his Wheel of Time series is one example of this type of magic.

In some fantasy worlds, magic might be limited to either men or to women. Some examples are the works of Melanie Rawn and Robert Jordan.

These types of magic can be combined to create your magical system. Human myth and legends are full of magic. Beg, borrow, and steal – make the magic your own to suit your fantasy world. Pick and choose the elements that work for your fantasy world. Or, create an altogether new magical type. The limit is your own imagination.

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P. June Diehl is the author of The Magic & the Mundane: A Guide for the Writer’s Journey and working on a second book for writers. Her short stories, articles, and poetry have been published in print and online. June works as a writing teacher/mentor at Pearls of Writing and Writers Village University. She is the Editorial Director and a Senior Editor at Virtual Tales, and a Lead Editor with ePress-Online.

Cloak and Sword Woman:

© 2006 by Guest Author P. June Diehl (reprint with permission)

Strong character development is a must, and beyond that, fantasy readers want (and need) multi-level female fantasy heroines. Want to write a fantasy book that sells? Then you need a strong female lead character, as she can make or break your story.

She’s beautiful, intelligent, and not afraid to get her hands dirty. She’s the cloak and sword woman, even if she doesn’t own a cloak or know how to swing a sword.

Creating the Fantasy Heroine

Your heroine must be a balanced character to make her believable. Determine her strengths and weaknesses. What does she love? What are her fears? What are her hopes and dreams? Her secrets? What does she dread?

So, what other characteristics belong to your cloak and sword woman? Here’s a list to help you get started.

• She knows how to get things done; she’s resourceful. She has fears, but strong will, circumstances, or something else propels for onward. In moving forward, she sometimes creates problems.
  

• Your cloak and sword woman doesn’t wait for things to happen to her; she goes forth and actively seeks her destiny. She is proactive. This can be good or bad, as she might misjudge the consequences of her actions.
  

• The fantasy heroine is strong of will and soul. She uses her inner resources to the best of her abilities, fighting through her fears. On the other side, she needs to recognize when and how to ask for help.
  

• She loves, but tends to fear giving or receiving love. Maybe she holds back because of a fear of being hurt or betrayed, but the love is there, and in the course of the story, the love matures.

• She’s passionate. Bottom line: She grows into a woman who knows what she wants and gets what she goes after, whether she’s facing an evil monster or dealing with a loved one. This aspect of your heroine can also lead her down paths where she will either dig herself out or need to ask or find help in doing so.
  

• Your heroine is fallible. Who isn’t? If your cloak and sword woman didn’t make an occasional mistake, who would want to read her story? She makes errors and misjudgments, and learns to admit when she is wrong. Many times her errors result from her passions, but she never blames others, learning that she’s the one who creates her destiny.
  

• She can be physically or emotionally wounded, but limit this as too much makes her appear weak. When she is wounded, the heroine will push or fight through her pain, seeing options and taking a course of action. She doesn’t sit by and wait for others to act. In the bleakest moments, there is opportunity for her to learn and grow.
  

Self-Actualized Fantasy Heroine

The cloak and sword woman takes charge of her destiny. From the beginning, the reader is aware that she is headed in this direction on a subconscious level. By the end of the novel the fantasy heroine is self-actualized.

The fantasy heroine has immediate and long range needs and goals, driven by her passions. The conflicts come at her from within and without. She battles demons on all levels, and in the process, she grows.

Allow your readers to experience her feelings and thoughts, her dreams and fears. Re-read fantasy novels in which you admire the heroine. What has the author done in the story to make you care about the heroine? Strive to develop the same qualities in your own character.

Give life to your cloak and sword female fantasy character. Bestow upon her a life that suits her destiny and dreams. In doing this, you will give your readers exactly what they want. A character they care about, relate to and grow with.

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P. June Diehl is the author of The Magic & the Mundane: A Guide for the Writer’s Journey and working on a second book for writers. Her short stories, articles, and poetry have been published in print and online. June works as a writing teacher/mentor at Pearls of Writing and Writers Village University. She is the Editorial Director and a Senior Editor at Virtual Tales, and a Lead Editor with ePress-Online.

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.

Chivalry In Fantasy Writing - Part 2

Adulterated Chivalry In Fantasy

Just as the contaminated code of chivalry went forth with the crusades, such scenarios make for interesting fantasy civilizations. In today's culture we think any man can be considered chivalrous, but historically it wasn't so. In practice, chivalry was limited to knights, barons, and earls. Men of noble birth.

Unusual fantasy cultures present new and unique qualifications for what constitutes noble birth and chivalrous behavior. Questions to consider when developing a fantasy culture include: Are characters born into nobility or similar social distinction? Does wealth and poverty play a part? In Windwalker the distinctions presented by the racially divided society offer opportunities for underdogs to shine the light on what is truly chivalrous.

Growth Of A Chivalrous Fantasy Character

Chivalrous behavior is a matter of heart more than living according to a set of rules. Chivalrous development within the fantasy character builds on lessons learned. Lay a foundation showing how the fantasy world works. This leads readers to form an opinion of what is good and honorable. It doesn't have to be an extensive detailed account that tells the reader what to think, but rather snippets that allow the reader to learn along side the character as they grow.

Historically, a youth of noble birth went through years of training before he could be admitted into the ranks of knighthood. The title of knight was not only earned but a sign of military excellence. About the age of seven, he started his pilgrimage to knighthood as a page. He ran errands and performed humble tasks for noblemen and ladies. During the process, he learned proper manners and received an education. This was the foundation.

Training A Fantasy Character

Rites of passage open the door to creative plot basics. Youth can tend to be rather cruel or overly sensitive. Training forges the fantasy character as they move away from what is known into a new environment that tests the character's integrity. In the right scenario, times of training draw lines between internal good and evil-right and wrong. These situations not only define a character, but also draw the reader to care-to love or hate.

Traditionally, when the page reached young adulthood (about age 13) his training became serious. He moved from the comforts of home into a castle owned by a friend of his father. Within this castle, he'd live and work as a squire. This is the time he learned the skill of using a sword, lance and shield. These skills were honed in mock battles with other squires.

Fantasy Readers And Characters That Connect

Fantasy readers learn along with characters in well-written fantasy. They gain external knowledge, and through body language and internal dialog learn how characters feel.

For example, consider a squire character involved in a training tournament. Readers learn the character's riding technique. They know what he's thinking as he approaches the target. Is he confident or fearful that he will fail before a love interest sitting in the stands? If the squire's lance hits the target dead on, it falls over, but if he hits it off center, the target spins around and smacks him on the back. Readers understand the rules and feel the muscular steed beneath them. If bystanders mock, the reader feels the humiliation.

Fantasy writers strive for readers to know what the objective is and how the character feels. The character and reader become one. They know who's watching and what it means.

Knight-like Fantasy Characters

Fantasy writers learn to carry over the magic of the chivalrous past. Knighthood carried a sense of honor and could be forfeited if the knight broke his vows. Why or how a knight-like character would break his vows would of course depend on the plot and how the fantasy writer wants their character to grow. A knight without honor was regarded as a knight dead.

In the movie The Natural a young gifted ball player played by Robert Redford has the opportunity to fulfill his boyhood dream of playing major league ball. He leaves for the big city with promises of marriage to the girl he leaves behind. This knight-like character breaks his vow after being shot by a mysterious woman. His code of conduct must be proven sixteen years later when he reemerges into the baseball scene and into the life of the woman he had promised to marry.

The chivalry of knighthood historically wasn't romantic or the exciting lives we read about in fantasy today, but that is the adventure of fantasy writing. As writers, we pick up the gauntlet and run with it. Where it takes us stretches the imagination and brings the reader along for the ride.