Music As My Muse

Music has always been a really important motivator for me. Through the more difficult times, it provided solace and a distraction from life events that befuddled any clarity of purpose; through the more enjoyable times it provided a soundtrack of emotions that could be drawn from to remind me of better times, periods of accomplishment. In both my undergrad and graduate degrees, music was a source of focus, ironically, that allowed me to do more with less time. I fondly remember placing my earphones/ear buds on in the library and spending 6 to 8 hours taking notes from textbooks, drafting outlines to papers and crafting PowerPoint presentations.

My friends, wife and colleagues find it quite the anomaly. For many, music while trying to work is anathema. For me it drowns out the background noise, the conversations and whatnot that pierce my concentration.

As an aspiring author, my writing process follows very much the same scenario. Music is my Muse, and more times than not, it provides that push to get through writer’s block, ignites the imagination. For the Ochra Cycle, certain bands and songs could easily be considered the soundtrack. The mood and the emotions they draw to the fore exemplify what I try to accomplish in the writing. As the music helps draw out the plot, it also influences the emotion and voice.

There are certain bands and songs that really stand out when I think of the Ochra Cycle, none more than Lacuna Coil. For the uninitiated, Lacuna Coil is an Italian “goth-metal” band, with the leading vocals duo of Cristina Scabbia and Andrea Ferro. The blend of heavy instrumental arrangements, Andrea’s growling vocals countered by Cristina’s soaring voice and a heavy dose of emotions make for a potent experience. Or at least they had until some of the more recent releases; to be honest, the last two or three releases left me wanting. 

The release of Delirium has completely turned that around. The instrumentals have gone heavy and dark, the lyrics heavily laced with emotion, brought to life by the more balanced weight from each of the singers. Tracks like House of Shame, Blood Tears Dust; really, every single track appeals to me.

Segueing into writing, this album has really jazzed me up. First throwing the tunes up in Youtube to review it, I immediately made the choice to go out and purchase this disc. Listening to it, the words flew onto the pages. I think these were some of the easiest chapters I’ve written, and this after a lengthy pause from writing altogether. The dark and heavy instrument arrangement synchs so well with the vocals. Possibly the best album Lacuna Coil has released, it has reinvigorated my writing in a way difficult to put into words. A succinctly as I can put it, I can’t wait to see how this album helps shape the Ochra Cycle, and I can’t wait to where it goes.

SFWA World Building Questions - Part 3

A continuation of this previous post, I decided to tackle examining the third portion of this exhaustive (daunting and exhausting if you try to answer it all) list of questions to help formulate an author's world building exercises.

SFWA World Building Questions

Part Three - Magic and Magicians

Well, one of the first things to identify is that this section is oft-times the most contentious.  The where, how and why for of magic use within any particular fantasy novel or series is likely going to make or break a lot of readers.  Is the magic system Hard Magic, with its rigid rules and laws that define the people who use magic and what they are capable, or more importantly, not capable of executing?  Is it a Soft Magic, where the mystery of the source and the limits of the powers wielded by these mystical creatures and beings are as much an element of the story?  There are a plethora of sources out there that postulate for one or the other, many of them returning with the "do what works for you" answer, which is likely the truest answer anyone can give a prospective author.

Myself, I prefer the Soft Magic system.  I played AD&D, Rifts, Legend of the Five Rings, GURPS and other systems that clearly defined the margins and requirements for magic use.  As the Game Master more often than not this gave me the tools to reign in my players more times than not.  Ever the story-teller, I was more interested in the conduct of the adventure and the excitement engendered in good role-playing, as opposed to sticking our noses into the book to find out what specific costs or requirements we needed to meet.

Rules of Magic

When we look at the SFWA list for magic, which is daunting, I realize that a lot of these I answered intuitively to a Soft Magic system.  I haven't specifically limited what magic can and cannot do, nor do I particularly plan to.  The difference between miracle and magic is clear enough, insofar that everyone knows there are magicians, sorcerers, clerics/priests and a few select other "classes" (to use the AD&D terminology) can cast these spells and do wired and wonderful things.

The source of power is not definitively endorsed.  Mages and sorcerers draw from an undercurrent of power from the All Father Ihr's creative efforts in making the realms. Mages are more restrictive in their aptitude, limited to spoken spells and rituals, which syphon the energy in a constructed format, with predictable results; sorcerers on the other hand use an innate focus to grab on and shape the power mages.  Mages can combine their powers in rituals to have greater effect, whereas sorcerers may not.  Clerics and priests draw their powers from the essence of their gods, who have all been limited in their contact with the physical realms.  Because they draw powers from their respective gods, they may not execute a ritual.  The one exception are the druids, who draw their powers from Ihr, the Mother Goddess who gives powers to the elements.

As the Realms of Ihr'Vessen purport to a Soft Magic system, the rules in any detail further than those described herein are largely neither required nor desired.  If the magic can help advance the story, without becoming any kind of deus ex machine, then the magic shall occur, in moderation.

Wizards

I suppose this would include my mages, sorcerers and the like.  From the perspective of the J'in Empire, mages are ordered into various colleges, the details I have yet to bother addressing.  It is thus far a background detail that has no place in the story; my hope is to somehow introduce a mechanism or pot line to get into this detail.  Most of the questions in this section are directed to any author purporting to the Hard Magic system.

In a general set of terms, magicians in my world are a mysterious enough bunch; the only ones we see are samurai, which poses an interesting challenge I addressed in the previous chapter of this topic.  What is a peasant was born with the ability to tap into this mystical power?  Again, an interesting question, yet not one addressed in my plot points.  My first blush at the answer is to say that they are recruited and the families moved to cover up the fact a peasant born has been brought in among the samurai.  This doesn't answer a number of cultural issues, particularly in how does a peasant-born adapt to the new way of life and the secrecy he must bear; the birthright of a samurai is important to the culture, ergo a movement up into another class brings with it some complications.  That said, I've based the J'in Empire's customs on the Sengoku Period of Japan, whereas the result of some major upheavals and conflicts, there was some upward/downward mobility.

The language of magic on the other hand is something I have committed to.  The few times that spells are invoked, a certain form of gibberish is said.  The specifics about levels of power increasing with age or experience, whether spell components are required and the other tropes typically derived from AD&D, I have yet to bother addressing, yet I doubt I will go there.

Magic and Technology

When I first saw this heading I actually just skipped right over it.  My initial thoughts were, 'this must deal with steampunk.'  Well, sort of, kind of, but not exactly.  The idea of magic transport and communications make me think of magic carpets, pumpkin to carriage and the like.  Not my baileywick.  There are, of course, magic weapons of a variety of forms.  Magic wands, staves, swords and other weapons with magical upgrades, et cetera.  They aren't as prevalent as one would imagine.  This is something I am sure anyone having played AD&D or whatnot would be entirely frustrated at; I blame the adventure modules that sprinkle magic weapons and trinkets around like Skittles at a candy store.

Magic weapons of Ihr'Vessen requires a fair investment of power and material.  Certainly the more powerful require the rarest of materials.  There certainly isn't any mass production of these artifacts.  In fact, they are very much like a finely crafted katana; they take a long and arduous process to create.  Once completed, they are literally, functional works of art.

Miscellaneous Magic Questions

This section really kind of diverted from the previous ones; the questions deal more within a socio-historical context.  Magic fist in with the regular laws of nature, can manipulate and be manipulated by it as well.

Magical beasts are certainly a trope I've decided to include.  Dragons, Ents, Dryads, giant spider-like creatures, a myriad of others in a background way.  The ecology and biology of each I won't get too far into unless it has some place within the storyline.  Like Soft Magic, I don't find the details as pertinent as how they can be employed within the plot.

Questions on civilization seemed a bit odd herein.  It's been largely addressed already - in the case of Ihr'Vessen, the elves emigrated from the region to allow the other species the chance to develop.  This, by extension, makes the elven civilization incredibly old, as well as the most powerful, the most culturally renowned, the race with the most powerful mages and other spell casters   The humans are a 'new' race, the new kids on the block, and they are only just making a place for themselves.  They know the basics, but humans have only just scratched the surface.  I liken the comparison to Tiger Woods (in his hey day) compared to an amateur golfer.  The humans have figured out the rules of the game and sometimes hit the line drive or the clutch putt, whereas the elves have all the tools and tricks in the book and consistently outshine their competition.

Why we suddenly discuss political factions in a section magic is beyond me.  That said, there are various races, each with their own macro-level endeavours. The elves maintain a position of power and overwatch over the lands in the name of Ihr; dwarves, rat men, humanity in its three major kingdoms and scattered independent communities, the orcs and of course the goblin herds.  The main protagonists come from the J'in Empire, as previously described as based on Sengoku period Japan with a smattering of Korean and Chinese cultural references; it is a hodge lodge of Oriental societies for a number of reasons.  Primarily, and this I freely admit to, I am neither a native speaker to any Asian language or dialect, nor have I actually lived in the societies I base it off of.  This can lead to some dangerous ground, particularly when depicting cultural norms and linguistics paradigms.  For this reason, i have blatantly departed for a purely Japan-referenced culture.  One aspect I did try to maintain is the truly ferocious political manoeuvring involved in the courts and between the families therein.  Under a relatively recently established Imperial line, the provincial daimyos (governors, if you will) still maintain their own provinces as they see fit, under the auspices of the Emperor.  They each vie for favour and control over their political enemies and allies alike.  Truly too daunting an aspect for this post, I may have to come back to it to try and give an idea of what's involved and at stake within the Imperial Courts as book one closes out.

Surprisingly, a large part of this post dealt with things other than magic; perhaps these are just the questions I keyed off on the most.  Given a different slant on a work, these questions can really provide a writer with the tools to spur the imagination and discover parts of the story they never even knew existed.

SFWA World Building Questions - Part 2

A continuation of this previous post, I decided to tackle examining the second portion of this exhaustive (daunting and exhausting if you try to answer it all) list of questions to help formulate an author's world building exercises.

SFWA World Building Questions

Part Two, Physical and Historical Features

Map of the Belgeriad & Mallorean

General:  The geography for the Ochra Cycle is fairly expansive.  It's certainly not continental spanning, like the Belgariad and Mallorean series, or quite as large as the Song of Ice and Fire series.  It covers a large enough region that travel from one side to the farthest expanse certainly takes weeks on horseback; I haven't bothered to account for precise distances, mostly because it hasn't enough of a direct impact on the story to bother.  The region is largely a fairly flat expanse, surrounded by a ridge line of mountains to the south, west and along the northern edges, while the eastern edge is dominated by the coastal line and islands.  There are certainly mountains, rivers, expansive forests and whatnot therein.  Like the map of Middle Earth, only the most pertinent locations are specified.

Map for A Song of Ice & Fire

The questions of other races has already been described herein to some degree.  The humans are largely divided into three kingdoms, for lack of a better term, while we have the orcs on their island off the coast (think of Japan, just off the Asian continent), the dwarven region of Naro nestled against the foothills of the southern mountain ranges, the ratmen in the southern reaches in the Swamps of Shenim, the goblin herds and other monsters of their ilk in the Kevian Ranges, also along the southern edge of the map.  To the west and off the map are the elven lands, purposefully left undefined; they after all vacated this entire region centuries before to allow these races, particularly humans, the chance to settle and thrive or succumb to their own devices.  This left several ruins spotted throughout the lands, ancient elven settlements and cities abandoned, nearly all of which are decayed to ruin and lost to the annals of history.  They of course remained behind with a token force, advisors to keep the peace and nudge "the new kids around the block."  This advisory role is still present, simply much more behind the scenes, much less prevalent.

Since the elves have not visited the Imperial Courts of the J'in Empire in centuries, much myth and mystery surrounds them.  The events surrounding the elven emigration out of this region of course led to the creation of a particular secondary character, a guy by the name of Masaki.  Masaki is the pre-eminent archaeologist and ruin diver of the J'in Empire; a guy with a bad attitude and ego to boot.  Since he is a character that deals with digging up corpses, let alone the remote possibility of touching dead flesh, he is a rather repulsive individual to the samurai.   He reminds me a little of the french archaeologist in Raiders of the Lost Ark, La Roche.  Of course I now need a holy grail of sorts for Masaki to go diving into, as well as a treasure worthy of his motivations.  This further led to the creation of a setting where the elven city has fallen to ruin and been buried under years of dirt and sand, yet underground ruins and basement complexes remain.  Creating challenges therein was a simple matter of thinking it like a Waterdeep scenario for AD&D; traps, monsters, baddies, treasure, etc.

Climate and Geography:  The hand drawn map I've been working from defines the major regions, revers, mountains and forests.  The climate is essentially equitable to that of the Japanese / Korean / Chinese portion of Asia; temperate warm with high humidity, colder winters with a fairly abundant snowfall in winter, much more so in the mountains and foothills.

Natural Resources:  Aside from that, flora and fauna are the same, providing at least some semblance of familiarity for the reader.  Of course there are a number of beasts and nasties that are unique (this is a fantasy environment after all).  Since this is a fantasy setting, magic has largely displaced any advances into sciences and engineering to a scale reminiscent of Renaissance Europe, and we certainly won't see any steampunk / diesel punk in the Ochra series.  The style of the architecture for the primary kingdom involved is based on the Sengoku Period of Japan, so the 15th to 17th centuries.  Given the scale and scope of the region, natural resources for construction (timber and stone) are relatively common enough, methods of extraction and refinement advanced enough to allow for the architecture you would expect to see in 16th century Japan or so, castles included.  There is an abundance of farmland; essentially a breadbasket region.

Certain regions certainly play host to more abundant resources than others.  The dwarves of Naro obviously have a mountain range at their back, providing for massive stone works and mining (oh, the cliche).  Not far from them, the Swamps of Shenim, a region teeming with life and unique natural remedies, yet otherwise fairly agrarian.  The Plainsfolk are essentially the stewards for the massive herds of wild beasts that resemble a buffalo, which serve as a primary source of meat and food, while defining their way of life and customs.  The J'in Empire is as closely akin to the Japanese / Korean / Chinese of the Sengoku period as one could imagine; they've settled in their regions, replete with arable farmland, cities and castles built up and developed to protect and support their way of life.  The orcs rely on piracy and slavery to maintain their holdings on the islands off the continental coast, while the Free States, the closest human kingdom and the most victimized by these attacks, is a military power in their own right, their mercenary companies the best available.

World History:  Not much of the ancient history is directly dealt with.  Tidbits of pertinent info are provided, largely to avoid info dumps.  In a nutshell, there was a war between the two pantheons, with the eldest and their creations (goblins, giants, leviathans, orcs, etc) against the younger and their creations (elves, dwarves, dragons, fairies, etc).  In the end the elves led the younger pantheons' forces to victory as the gods stalemated themselves; the elves remain the dominant superpower.  Humans were created thereafter as a neutral party, a buffer species to keep things honest, so to speak.  This ancient history is known and recorded in detail by the elves, remembered by most other races of the times through oral tradition.  Humans know only of this era by way of myth and legend; Masaki, of course, has some further insights through his journeys.

I won't go into any of the specifics for the World History and the Kingdom-specific histories.  There simply isn't enough room for that massive a wall of text, nor much motivation to reveal it all.

In the next instalment, the SFWA World Building questions tackle the magic system.

2014 - The Year of the Hardcover Book

One of the conclusion I had at the turn of the New Year was to start collecting the hardbound copies of the classic works from science fiction and fantasy.  Part of the reasoning was my simply voracious appetite for reading when I was younger, single and not a father of two.  This left me with an astounding collection of softbound and paperback novels that really only served the purpose of filling shelf space and boxes in storage.  I needed to get rid of them, so I did.  My wife had bought me a Kobo a few years back and since then I've been nearly exclusively reading ebooks on that platform. I like the Kobo and the experience of the e-Readers.  That said, there is something to be said for the tangible element of reading.  So spring forth my desire to collect the classics.

There are a few definitive beginning points: the Lord of the Rings trilogy, 1984 and the like.  There are only too numerous a list of classic works from either science fiction or fantasy or those that combine both.  A few examples (of hundreds):

NPR List of 100 Top Science Fiction & Fantasy Books

Flavorwire's Top 50 Sci-Fi/Fantasy Novels That Everyone Should Read

Top 100 Fantasy Books

Top 25 Fantasy Books

Top 25 Science Fiction Books

I'm currently finishing up the Lord of the Rings trilogy that I borrowed from my father-in-law.  I received 1984, by George Orwell, for Christmas and I plan on getting around ten classics this year, reading them all and providing a review of each.  My short list of purchases for 2014 are the following, in no particular order:

1.  Ender's Game, by Orson Scott Card:  Politics aside, I was completely enthralled by this novel when I first read it.  I read the entire Ender series in paperback, finding the following works delving into harder science fiction than I was used to at the time.  There were a few parts of his later works that don't strike well with me either, but this was before the days of pervasive Internet and some of OSC's more recent and infamous statements.  That said, this the first in the series is a definite for my collection.



2.  Dune, by Frank Herbert:  Another classic I read in my youth, I vaguely remember the details.  I do recall watching the movie shortly thereafter and grudgingly accepting it as a 'decent' rendition of the novel.  I fully understood the limitations that Hollywood had in regards to production and special effects.  Regardless, I am fully committed to adding this one to my collection.


3.  The Last Unicorn, by Peter S. Beagle:  I have never read this book, yet from everything I have heard and read it is something of a masterpiece of english fantasy.  My only connection to this work is the animated version, something of a psychadelic tale that involved a little unicorn, a small group of friends and a flaming bull.  I laugh as I try to recall the details, only to find myself truly wondering how far some interpretations can sometimes differ from the written work.



4. The Left Hand of Darkness, by Ursula Le Guin:  Another I have not read but continuously appears on must-read lists.

5. Do Androids Dream of Electric Sheep, by Philip K. Dick:  I've been a huge fan of Bladerunner since I saw the film for the first time.  The film resonates still, through various re-releases and different renditions (original score, Director's cut, etc).  When I found out this was adapted from a novel, I immediately bought it for my Kobo.  I enjoyed it so much I know it must be one of the first half-dozen for my collection.



6.  Starship Troopers, by Robert A. Heinlein:  After having seen the cinematic version, I suppose it could be forgiven that it took me over a decade to get to the novel.  I actually did it because of a challenge someone posted on a message board; that passionate refusal to accept the cheesy film as anything related to the book drew my attention, and I was stunned at just how much I had missed in those intervening years!  A definite addition.


So those are the defines that I have on my radar.  I've already read the Wheel of Time series but have no interest in collecting it hardbound.  I also have George R.R. Martin's series, A Song of Ice and Fire, sitting in my Kobo; I'll read those willingly in e-format and get the completed set once complete, desperately hoping it doen't go the way of Wheel of Time.  

Other than that, does anything seem out of place or significantly overlooked?  I'd appreciate any comments or suggestions.  I've got four more spots to round out the ten that I'd like to start with this year.

SFWA World Building Questions

I’ve stumbled onto this particular site a few times over the years, typically anytime someone on the Absolute Write forums starts asking about worldbuilding; it’s a staple link that always gets brought up.  Albeit not an exhaustive link, it can truly be a daunting link for authors just starting out and looking for a place to start.  It truly does ask a daunting amount of questions, not all of which apply, which may or may not initially occur.  That said, I’ve taken it upon myself to review the list and see how it applies to my fantasy ms, as well as the remainder of the Ochra series books.

A review of these questions may seem like an exercise in futility; I mean, after one novel written, you’d think these questions would have been answered already, right?  More to the point, it’s a chance to do some worldbuilding detail-work that may have gone unnoticed, yet it also provides the opportunity to draw on your second- and third-order effect answers and develop story ideas.  Case in point: in the Ochra series, the J’in Empire is a caste society.  Mages/sorcerers, which are considered samurai caste, were born with their abilities, able to tap into a sub-current of energy they use to shape their spells.  Not everyone born with the ability develops the potential to tap into this energy.  If they are born into the ability though, what if a peasant-class child was born with this spark?  This led to the development of a secondary character, a samurai bounty hunter of sorts that sniffs out these waifs born with the ability.  This leads to other questions:  how does he sniff them out?  What does he do when he finds one?  Does he pay the family for the child?  If so, does this create a sort of lottery system?  How would that impact the society?  How would that be interpreted by the samurai?

SFWA World Building Questions

Part One, The World

The Basics:  Largely an Earth-like world, most questions like gravity, basic flora and fauna and the like are already assumed to be the same (no need to recreate a pine tree, or call a maple something new).  Then we get into the specifics of races.  An epic fantasy, the Ochra series includes a gamut of other races like elves, dwarves, dragons, ratmen, orcs, goblins, et cetera.  The realms of Ihr’Vessen are currently in a post-cataclysmic era, the two pantheons of gods having fought a war that was finally brought to an end.  The elves are the sole remaining superpower among mortal beings.

Humanity is actually in a relatively nascent stage.  The tribes scattered across a region of the continent ‘recently’ vacated by the elves; recently is something like 1000 years or more.  The three major human kingdoms have diverged into their own specialties, their cultures developed to reflect different worldviews.  The primary human kingdom the Ochra series follows in the J’in Empire, a samurai culture that is based heavily on Sengoku period Japan, with Chinese and Korean myth and culture woven in as well.  As this differs radically from the Euro-centric standard for most epic-high fantasy, it brings with it some unique idiosyncrasies: names are particularly foreign, yet this poses the problem of keeping names straight, particularly when most Asian cultures speak family name prior to given name.  Most readers are likely to also visualise against the backdrop of popular films or anime.  Films like The Last Samurai and 13 Assassins are actually rather good pieces to draw from, in that they at least tried to make things as culturally and historically accurate as possible; films like Crouching Tiger, Hidden Dragon and a plethora of anime tend to stray a little too far into the fantastical for my taste (I must admit I absolutely adore the imagery and action sequences from Crouching Tiger, Hidden Dragon).

Population:  These numbers are something I’ve had to put some research into.  Taking a cue into the middle ages of Europe, a continental region the size in question for my manuscript could handle a population of several millions.  The actual figures are neither directly pertinent not required for the storyline.  That said, as background information it provides a baseline to work from.  I found this site, which boils down demography in a fantasy setting into a rather intuitive system that works for me.  It is geared towards a Game Master developing his Role-Playing Game setting, yet the parallels remain – author or GM, you’re both telling a story.

In the European Middle Ages, the population was curbed for some time by Viking, Arab and Slavic or Magyar expansions.  In my case, the elves vacated the lands but oversaw the ‘lesser’ species development.  This over watch would also have to include some form of protection from the predations of the surviving rival factions of the elves, namely the goblins and orcs.  I’ve used this as a bit of a cheat to help along the development of humanity in a slightly compressed time span.  Once the human tribes had diverged into their own distinct paths with regions of their own, the elves withdrew to a supervisory role of sorts.

Source of Magic:  Another issue worthy of thought, particularly if it plays a significant role in your story.  In my case I’ve both mages/sorcerers, as well as clerics/priests.  The former draw their powers from the underlying current of energy that they alone are able to recognize, tap into and mold to their spell forms and abilities.  Mages use spell forms and rituals to carefully construct the conduit that the power gets siphoned through with predictable results.  Sorcerers on the other hand draw the power into themselves, their instinctual drive the conduit for the power, which makes their magic less predictable but easier to access.  Priests and clerics are largely the exact same thing, just a question of title, yet both draw their powers from the grace of their gods.  Since the cataclysm ended, the gods were limited in their direct influence.  Their latent power could be drawn upon if a cleric met the phantom presence’s.... entry requirements, for lack of a better term.

Again, none of this is essential to the actual story, yet it creates a good baseline and reference point for the plot whenever things seem to be drawing off course and into territory I’ve not explored.  A quick reference back to my notes and more times than not, I’ve got a place to go from, or a new plot point to exploit.

deviantART Spotlight

The artwork below is copyrighted to ranoartwork. I make no claim to this work as my own.

One of the many things I do to stem writer’s block and keep the creative juices flowing is surfing (insert link) deviantART. Just by checking out the most popular submissions over the last eight hours every couple of days is more than enough to give some flash of insight into a story arc that may be waiting to burst, or un-stall one waiting to carry on. It may not be a full-fledged story, but a component on one I’m currently working on – scenery scenes are spectacular for this. In my own way, I’d like to recognize these artists for truly amazing artwork, be it photography, ink on canvas, or manipulated photons in digital form.


Canaan by Ranoartwork


In doing the research for the upcoming novels in the Ochra Cycle, I'm always on the lookout for good, thematic scene pieces like this one.  In this particular case, it provides a stunning visual for a part of the plot that had thusfar been very vague.  I know I want to "go there," and yet the "there" that I'm referring to was never fully realized; it is much later and not a priority.  That said, this piece nailed the spirit of what I was looking for.

When my eldes daughter first saw Canaan by Ranoartwork, she immediately squeeled "Aladdin!"  Truth be told, this was one of my first thoughts as well, until I started overlaying my story's plot points.  The rendering of the colours and the scale are utterly gorgeous.  It shows a city in the midst of an utterly desolate landscape, a sky with no clouds.  The buildings in the foreground enhance the perspective that this is all part of a larger city.  What we see here is perhpas a central religious site, or a caliph's palace.  The people in the foreground are small, lacking detail and seem to be either observing themarvel of this palace, or heading towards it as if on a  pilgrimage.

In my story's case this is no longer a place of safety and security, not a place for a pilgrimage, certainly not a setting for anything from Alladin.  It is one of the focal points for the overall plot lines, a city far removed from the main setting of the storyline, a city state with a deep undercurrent of something dark and sinister - a trope that could be applied to any epic fantasy!  This piece helps reinforce that imagery for me.  The grandeur of the palace is a symbol of power and dominance, a will to overcome the elements and create something where humanity would otherwise never survive.  There is beauty to be found as well, of course: the architecture, the grandeur, the people and their culture, not all is corrupt and malignant.

I simply find Canaan to be a terribly well executed scenery piece, depicting a foreign culture and architetcure.  It draws you in and makes you want to tell the stories that occur in the back alleys, the politics and trading of favours and goods that make this city equally the cesspool it may be forced to be, as well as the oasis it strives to be.

For anyone interested, here is the link: Ranoartwork's DeviantArt gallery.




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Musical Muse

One of the major detractions to my writing in the past two weeks is finally out of the way. I recently celebrated with a special martini mix (definitely not for the faint of stomach) and liked it so much I had two.  Life was really, really good that night and has since returned to some semblance of normalcy. I can now devote some time to writing, editing and other creative activities.

One of my recent discoveries is a musical channel within Youtube.  One of the most powerful sets of musical compositions are sometimes the shortest.  The musical scores linked into movie trailers can really make or break interest into a film.  As epic fantasy and science fiction goes, I think we benefit from a bevvy of applications, where muscial scores tied to key pieces of cinematic sequence can really drive you into a story.

Working to get my epic/dark fantasy ms out, as well as working on the subsequent works, I found music to be a real source of inspiration.  This gold mine of shorts will definitely be a constant for future projects.  I invite you to listen to the video below and imagine the trailer for your own novel (fantasy, sci-fi or otherwise); I challenge you to not get excited about your work.

 

Star Wars Screen Crawl as a Query Letter?

Opinion of original series is undaunted as one of the best sci-fi trilogies made to date.  It was such a significant contributor the genre and film making in general that it was one of the first movies the United States Congress decided to preserve in their Congressional National Film Registry.  This trilogy is particularly important when realizing the technology of the day compared to how well they (Lucas, et al) pulled it off; even today the special effects largely hold up to modern day expectations.  The only exception I could think to include would be all those additional, extra scenes that Lucas added, as well as most of the ‘enhancements’ add years later.  Many current sci-fi movies suffer from an over-reliance on CGI, to the point where it seems the story revolves around what a computer programmer could accomplish, the script written thereafter to include said scene.  I personally believe that Lucas drank a little too much of the Kool-Aid and became a victim of his own success.  The prequel trilogy (shudders) would be an ideal example of this problem, my opinion on those films clearly demonstrated here.

 

The key thing I noted was how the opening paragraphs (screen crawl) seemed to equate the elements of a great query letter:

 

It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire.

 

During the battle, Rebel spies managed to steal secret plans to the Empire’s ultimate weapon, the DEATH STAR, an armored space station with enough power to destroy an entire planet.

 

Pursued by the Empire’s sinister agents, Princess Leia races home aboard her starship, custodian of the stolen plans that can save her people and restore freedom to the galaxy….

 

Originally a six paragraph text, Brian de Palma helped edit it down to the current, concise introduction.  As a query letter, it would fall extremely short on length (only 83 words), yet it answers the three basic elements:  What does the protagonist want?  What must they do to accomplish it?  What happens should they fail?

 

It serves as a great introduction to the film.  In this case, viewers already paid their tickets, so there was no purchase-wall to break through.  Query letters must gain the attention of the agent or publisher to continue into the opening scene, or request that partial.  Without knowing much about the plot, the screen crawl sets up one of the best opening scenes in cinematic history, patrons immediately drawn into the conflict.

 

Albeit a different craft altogether, that of writing and movie making, the concept of targeting emotional investment is identical. As the screen crawl skims down to a shot of the orbit around the planet of Tatooine, we suddenly have a space craft fly over, followed by a sudden flurry of laser bolts and an even bigger ship chasing them.  We are thereafter just launched into the story that the screen crawl developed.  Princess Leia is fleeing, in a much smaller ship, while the weighty bulk of the Empire chases her down.  We know that Princess Leia has the stolen plans and is fleeing the Empire’s agents, her goal nothing short of the galaxy’s freedom (I’m sure some would call this overly ambitious). She must return with the plans, the fate of worlds (literally) at stake should she fail.

 

In what is ultimately an ensemble cast, it struck me that the opening teaser and what I am essentially equating to a query letter should center on Leia.  Knowing the way the film works out, from a query letter perspective it would almost seem to make more sense targeting Luke’s point-of-view.  From what I’ve been gathering from various sources and websites, that may not be the case, particularly given the way the film starts; the opening chapter is of Leia’s flight from the Empire.  We don’t even see Luke until perhaps 30 minutes into the film!

 

When I compare my epic fantasy manuscript to the Star Wars screen crawl and the opening scene (Chapter 1, so to speak), I’m left with likely the same problem Lucas had before Brian de Palma came in and tightened the text.  My query letter currently centers on the two primary characters, each with an equal weight in space and impact on the overall plot; there are several reasons for this, centered on future events I hope I’m able to get to.  I’m still curious whether this is an obstacle with agents and/or publishers.  The temptation is to reduce the query letter to one central character, be it Soki and her issues at the Imperial Courts through to her escape of a coup and the aftermath, or Tagaretsu who must escape from the goblin invasion and grasp at even the possibility of an item that may save the empire from complete collapse.

 

At this point, the efforts are centered on the second book.  Is my query letter polished enough to go out?  Maybe.  It’s had a go through the AbsoluteWrite forums before, with varying degrees of response (and success depending on who you listen to).

DeviantArt Spotlight - Inetgrafx

The artwork below is copyrighted to inetgrafx. I make no claim to this work as my own.

One of the many things I do to stem writer’s block and keep the creative juices flowing is surfing (insert link) deviantART. Just by checking out the most popular submissions over the last eight hours every couple of days is more than enough to give some flash of insight into a story arc that may be waiting to burst, or un-stall one waiting to carry on. It may not be a full-fledged story, but a component on one I’m currently working on – scenery scenes are spectacular for this. In my own way, I’d like to recognize these artists for truly amazing artwork, be it photography, ink on canvas, or manipulated photons in digital form.




Chinese Monestary by Daniel Kvasznicza

Chinese Monestary by Daniel Kvasznicza (inetgrafx on DeviantArt), really emotes and epic scale, a scope to the structure and its position in the mountains, overlooking and protecting the valley below.  The multiple pagodas and towers hint at a series of structures built upon the next, demonstrating the structures age.  The lower levels show smaller sub-structures for logistical functions, storage and for the peasant caste.  The high ridges on either side protect the structure from the flanks, the only real approach hinted at from the far side, under the watchful eye of the parapets and upper pagodas.  You may not have noticed how deep the structure is; truly near city sized.  If you look hard enough at the smaller structures dead center you catch glimpses of people moving about, providing a reference for just how massive this castle truly is.

The emotional connection with this picture is quick and deep.  My fantasy manuscript is set in a quasi-Japanese setting with heavy influences from Chinese and Korean culture and history.  The samurai that rule the J’in Empire would very likely have constructed something like this in a crucial mountain pass, or a high feature overlooking a key valley.  A structure such as this was the inspiration for a castle that was attacked by a goblin invasion force, the results entirely lop-sided and favouring the goblins.  The result of this begged the question:  How would a herd-like race typically favouring stampeding charges en masse have the capability to destroy such a formidable structure?  The answer to this question is the subversive and driving force behind the antagonists and their agenda.

The inspiration this piece provides is just spectacular.  The majesty and detail of the work takes you right into it.

Check out the other works, professional and personal on his website, linked in the comments below the DeviantArt piece.  He also has quite a varied and impressive list of credits!  Working with a company out of Montreal, Quebec, Meduzarts has a series of works that will inspire and impress, with a client list and project files that will equally raise your eyebrows.  If I were ever to translate my fantasy setting into a book or role-playing game, I’d love to see this artist’s artwork play a major part in it.  The fact he’s also from Canada doesn’t hurt either....

Get Your Geek On! Oh, And Write Too.

One of my favourite past-times, aside from writing speculative fiction, is playing table-top war games.  Warhammer 40k was the first one that caught my attention, back in grade 7 when one of my classmates brought in his older brother’s White Dwarf magazines.  White Dwarf is a Games Workshop publication for all their games, Warhammer 40k inclusive.  I saw the pictures and read the army descriptors and the various units and fell in love.

 

Not until years later did I get into the game.  Other game systems joined my repertoire of table-top gaming, now dwindled back down to just my 40k armies.  The cost of the game in terms of cash for the models and time to paint the miniatures certainly curtails how much I get to play, but I still game as much as I can.

 

 

 

The odd thing is how much my wife accuses me of being a closet gamer.  Frankly I consider myself a closet geek.  Being an officer in the military certainly doesn’t lend itself to bragging rights over playing games involving little painted plastic models, or writing thus far unpublished speculative fiction for that matter (aren’t I the optimist).  On that vein, it seems that a lot of writers keep their passion a secret, tucked away and reduced to when their friends or colleagues aren’t around.  Described as such, it almost sounds like an addiction.

 

Getting together with other gamers certainly lets me get my geek on; no pressure, same interests, etc.  The people certainly vary, in age, employment, income, you name it.  Great, now I’ve made my gaming group sound like a rehab session; group therapy for the gaming afflicted.  Living with a major military base nearby does draw more than its fair share of military personnel into the hobby.  There is a gaming club on base, primarily for tabletop gaming, which I unfortunately can’t participate in due to timings and distance.  The local gaming store is the only real venue, which includes a number of the base club players as well; I can say with certainty that I am one of the few officers that shows up to play.

 

I was more than a little surprised by the recent email and phone call from another captain that used to work in my Branch, asking whether I played Warhammer 40k.  The cryptic email was worded almost in code, or certainly would have looked that way to the uninitiated.  We talked and I discovered someone else with the same passion for tabletop gaming.

 

Then I wondered about how this reflects on my writing hobby.  Not everyone is open about this little part of their lives, almost embarrassed or afraid how others would react – especially so when you ask them to read your work, or they themselves ask.  What will be their reaction?  Will they enjoy it?  Will they hate it?  Agents and publishers are strangers, phantoms unknown at the other end of an email address that make a yes or (typically) no judgement.  When dealing with friends and family, things somehow seem more personal. 

 

I’ve never allowed anyone to read my fantasy manuscript, largely because it was far from finished, let alone polished.  Now that I’ve completed the final draft, I’ve started sending bits and pieces off to be reviewed, to see where it stands.  It’s soon off to either finding a beta reader or through the rounds with agents and publishers.  This leads me to wonder, how many others out there have closeted their ambitions to being a published author from friends and family?  Is it something you keep hushed away?

 

NB:  For the sake of clarity, I don’t want anyone to think I have minimized the trials of those with addiction.  In my position I am privy to the sometimes sordid and wretched results this may cause.  I would also like to applaud those who have beaten their particular ‘dragon’ or continue to fight their personal battles.

NB 2:  I feel I must make a statement about the recent and, in my personal opinion, atrocious handling of the whole 'Space Marine' is a trademarked term for book and e-book publications.  As you can imagine, most any reasonable person, typically a concept used in the basis for legal decisions, would find any credence to GW's claim.  I don't think they have a leg to stand on and am absolutely thrilled to see Amazon re-offer the book that caused the kerfuffle.