Dissecting World Building

            The creation of just about any fictional works – be it book, short story, movie, or game – begins with the world building. Certainly, some need less than others; a real world setting requires less than a fantasy setting, but world building still needs to be done to create a convincing world for any story to take place in. A world is a huge thing though – and the idea of building one can be daunting.

            So, how do you tackle building a world without investing years in it? Well, the first part is to remember that you don’t actually need to create a whole world – you just need to make enough of it to make it look like you have. Like the two-dimensional facades stereotypically used for movie sets, all you need is what the audience will see – plus a little bit extra to hint at so they think more had been done.

            Take characters, for example. Each character you intend to present needs to be well thought-out and designed to be realistic, but you only need to make the characters that will be part of the story. Creating the entire population of a city would be tedious an exhausting, so how do you make it seem like the rest of the world still exists? Throw in a few names, and references to events that take place outside the story. It could be as simple as a character commenting on a paper written by someone notable – you don’t have to worry about the identity of the person, or what the paper says, beyond what the commenter needs for their line. The details don’t matter – the fact that someone was given a name and did something noteworthy that has nothing to do with the story makes the world feel more real.

            The same works for places, and is even easier. Just make up a place name, like Drexa’s. The characters a talking, and someone comments on something that happened at Drexa’s, or perhaps suggest it as part of a list of places to go. The reader has no idea what the place it. A restaurant? A club? It doesn’t matter, because the characters know, and it makes the world feel bigger than it is.

            When world building, it’s important to keep to the essentials. What’s important to the story? What do you, as the writer, need to know to maintain consistency within the story? If you aren’t going to use it, don’t worrying about making it – all you need is a hint; enough to make the world seem like it has more depth.

            Of course, if you enjoy building the world and want to go ahead and flesh out every little detail, go ahead and do that, too! Just keep in mind that, if you start to get overwhelmed by the size of your creation, you can always step back and do less. There’s a reason for the saying, “Less is more.” If you ever find out you don’t have enough, you can always add more later – just make it one little piece at a time and, before you know it, you’ll have a healthy little world of your very own, ready for whatever use you put it to.

Check out my YouTube channel where I tell the stories of my D&D campaigns.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Simulating Public Opinion

            Understanding the nuances of public opinion is a challenge for me, as it is so hard to pin down what it actually is. Yet, for someone like me – who writes books and runs games where I need to know what entire societies are thinking – it’s important for me to continue striving to understand what they are, where they come from, and how they can be portrayed.

            Through my explorations, I have discovered two key points to understanding the currents of public opinion: the source of information, and how much the person receiving said information trusts the source. For example, one day I read two articles on the same political gathering – one from a right-wing source, and the other from a left-wing source. Due to my own leanings, I instinctively distrusted what was said in one of them, and wanted to believe what was in the other. However, being the type of person I am, the opinion I ended up with was that the truth was partway between the two – though I still favored the one I wanted to believe.

            Another factor that needs to be considered is how readily people will change their opinions. We see a lot of it these days, where one piece of information that goes viral on the internet can take people from thinking someone is amazing to hating them – or vise versa, though this seems to be less common. In many cases, it’s remarkable how easily people will flip their opinions – and they won’t even bother checking into the information before changing their opinions, which is remarkable in this age of satirical news sites and deliberately misleading article titles.

            It appears from this that people are quite fickle, but this isn’t entirely true. While there are some people who will change their opinions at the drop of a hat, there are others who will dig in their heels and refuse to change, and still others who will carefully consider before keeping or altering their opinion. However, the important thing to note about public opinion is that it isn’t really made up of all the opinions of the people who make up the public, and it isn’t even made up of the majority. It is defined by those who speak the loudest, and those who are heard the most. Since the people who refuse to change say the same thing all the time, they tend to blend into the background, and the people who take time to formulate their opinions aren’t there to be vocal at the beginning, this means the bulk of public opinion is formed by those who are fickle. And since having more people supporting an idea puts pressure on others to agree with them, the fickle masses drive and shift the overall perception of the world.

            So, as it turns out, public opinion is simply the opinions of the loudest, most easily swayed individuals in a society. People’s actual opinions can be pushed and swayed by public opinion – because it is within human nature to try to fit in – whereas other people can’t be swayed at all. From a governing perspective, this is a very useful tool – because if you can control the perceived public opinion, you can quiet the people with opposing views – but it isn’t so helpful for my purposes. Yes, it gives me an overall view to present, but it doesn’t help with narrowing down what an individual character thinks.

            For that, it’s important to go back to those two points I mentioned before: where did the person get the information from, and how much do they trust that source? Public opinion can sway them of, of course, but how much of the information has reached them? How diluted has the information become trough the telephone-game? What are their own opinions before receiving the new information? People are more likely to believe something if they want it to be true or if they’re afraid it is true, so how does that impact them?

            That’s all very complicated, though, and while it’s sometimes necessary to go that deep, often it can be simplified into 3 basic views: in favor, neutral, or opposed to any given concept. Sometimes a few more complicated options need to be added, but even with a few more added, it’s fairly simple to define those basic perspectives. From there, one can be designated as the public opinion, and then the others can be assigned to characters as it seems appropriate, and they can even be tweaked from there to personalize them to the character.

            And that is how it becomes possible to realistically simulate the currents of public opinion, based off of my own observations and experience. All opinions are my own.

Check out my YouTube channel where I tell the stories of my D&D campaigns.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Choose Your Story

            It’s easy to think of stories as universal concepts, because a story is a story. Isn’t it? But it really isn’t that simple – because it’s become clear, as we’ve developed more mediums for telling stories, that the enjoyment we get out of any particular story varies depending on the platform used to deliver it.

            Pick a book that’s been turned into a movie. Any book. With very few exceptions, the book s always considered to be better than the movie. This generally comes about in one of two ways: either the movie as accurate to the book, and just doesn’t measure up, or the movie is actually quite good, but is rife with inaccuracies that make a well-read viewer furious.

            The same can be said while translating into other mediums. Audiobooks are common now, but even still, there are some stories that are preferable to be heard aloud – in particular, those told skilled storytellers. Video games also need to have the story adapted for them to be enjoyable – and even within that sphere, there’s variety in what the story needs to be like based on the type of game delivery.

            This means that those who create stories must be aware of the needs of the delivery they intend. A book can be extremely detailed and complex – with an added depth granted from being able to see characters’ thoughts. A story designed to be told aloud requires simplification and a pacing designed to hold the audience captive, because they can’t go back to re-read details they missed. A movie can have much of the complexity of the book, but it needs to be paced faster – and the depth of knowing what characters think is limited to what can be shown in facial expressions. Video games need a story that is simple and interactive, as the focus is more on the journey through the story than the details themselves.

            For each medium, the story must be crafted carefully to meet the requirements of the audience. Does this mean you can’t present the same story on different platforms? Not at all. However, it does mean that you can’t pull a story from one medium and plug it into another and expect it to work – it needs to be altered and adapted to fit the appropriate style of storytelling.

            Keep this in mind whenever you are crafting a story. If you find it isn’t working out the way you thought it would, consider switching the medium before scrapping it.

            As for when you’re enjoying an adaptation of a story you love, remember that sometimes changes are necessary for the sake of entertainment. Besides, you already know the story – isn’t it better to have a new story? Sit back and enjoy the entertainment without the expectation that it be exactly the same as the story you already know; treat it as a new story and you may find yourself more satisfied with your entertainment.

Check out my YouTube channel where I tell the stories of my D&D campaigns.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Choices, Choices, Choices...

            In any situation, there are choices to make. Sometimes it’s clear which is the best to make, while other times there is no clear “right” answer. We often grow up believing that there is a nice, easy Right and Wrong, but then we discover that life isn’t so simple. Most decisions have potential good and bad side-effects, regardless of the intended decision.

            This piece of knowledge is of the utmost importance to writers – as well as any other purveyors of story-based entertainment. Our instincts when giving choices to characters is to provide them with a clear-cut decision. This is because we want the readers to be on the character’s side. When the character makes a good decision, it makes them more heroic and likable. A bad decision is also useful, because the readers can then bemoan the choice and have an “I told you so” moment when it blows up in the character’s face. It’s also easy, and caters to that side of us that still believes in a simplistic Right and Wrong.

            However, if we indulge that instinct, we lose a lot of reality from our stories. They end up feeling a lot like fairytales and it’s more difficult to sneak in plot twists. Besides, how hard is it for a character to make a decision when the outcome is fairly obvious? Our heroes need to face challenges, otherwise there’s no point in having a story, and every challenge comes with choices to make. So we enter the grey area...

            The grey area is challenging to create within a story world. The reason for this isn’t simply because it’s more complicated, but because we, as the creator, know what direction we want the story to go after the choice is made. This gives as a bit of tunnel vision as to the possibilities surrounding any given decision – because we already know what the results are going to be. To combat this, we need to take a step back and look at the bigger picture and see if we can drop in more consequences to any given choice.

            Let’s use an example. Say that the hero must make a decision whether or not to go on a mission that will help fend off an invading army. For a heroic character, that’s already a simple decision. So, how do we make it more complicated? The easiest way is to add a compelling reason to not fend off the invading army, such as a love interest that needs rescuing. Suddenly, the decision got way more complicated. It went from saving the nation or not to saving a nation or saving a loved one. Each option has a clear positive side, as well as a clear negative side.

            However, we still know how that story is going to turn out. As long as this isn’t a tragedy, the hero is going to save the love interest, then deal with the fallout from the invading army. It’s grey, but still not quite grey enough. So, we add more depth to the choice. A close comrade of family member is fighting in the war and may die based on this decision. The love interest is ill and can’t possibly wait until the war is dealt with. The hero’s presence at the battlefront will strike fear into the hearts of the enemy, but the word of their deeds will spread to those holding the love interest and they will respond in some way. Rescuing the love interest will mean all the hero’s dreams will come true, except they will have lost everything they ever fought for.

            To increase how grey that grey area is, we can add in other choices as well; going to the front and sending someone else to rescue the love interest, but can the person be trusted? Betraying the homeland and joining the enemy to end the war quickly so the love interest can be rescued. The more branches there are, the more compelling the decision will become. And the key is that no decision can be all good, because even the best decisions have negative consequences, even if they aren’t visible at first. Of course, the reader doesn’t need to know all the consequences – those can reveal themselves over time. In fact, some uncertainty in the results of a decision can make it all the more compelling.

            So often, we think of choices as a two way switch. This or that. But to make a choice truly compelling, we need to change that thought process. We need to think of each decision as a web that keeps branching out into more and more consequences (both good and bad) the further we get from the point where the decision was made.

Check out my YouTube channel where I tell the stories of my D&D campaigns.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Foreshadowing

            My wife once told me that, when she was young, it used to amaze her how writers could put all that foreshadowing in their books and have all the loose threads come together at the end. It blew her mind – not to mention, disappointed her – when she got older and realized that writers could go back and add foreshadowing earlier in the book after writing the end.

            I think that foreshadowing is one of the most complicated aspects of writing, yet is one of the most important ones. How would you feel about reading a book where the masked villain is revealed at the end and... it’s someone you never even heard of before? What if you were reading along and got to the end of a book, only to discover that there was a whole other plot going on in the background that had nothing to do with the rest of the book, and that was never even hinted at? You’d probably be pretty disappointed. Surprised – but disappointed.

            I think the best-known use of foreshadowing is in the Harry Potter series. You know what I’m talking about. Or, if you don’t, go read the series and find out. If you read the series a second time (or have a very good memory), you’ll start seeing things from all the way back in book one that hint at the great reveal – and it’s truly amazing how much there is that connects.

            But, wait... there are 7 Harry Potter books (well, in the main series, at any rate) and the big reveal is in the last one – J.K. Rowling certainly didn’t have all the books completely written when the first was published. She didn’t have the option of going back to add those bits in. So, how did she do it?

            Well, it’s because there is more than one way to foreshadow. In this case, it was excellent planning. This big reveal was practically the whole point of the entire series – it was something that was planned from the beginning and, as such, it was easy for Rowling to put in. In this case, the hard part was keeping it subtle enough to not alert the readers.

            Of course, not all foreshadowing can be planned in advance. Sure, writers generally know how their books will end, but they don’t know all the separate elements – those are discovered along the way. Then, if needed, the writer can always go back and add them later, after completing the manuscript (but before publishing it).

            Yet, there is still another way to foreshadow, something that is almost a combination of the previous two. Writers can often foreshadow as they go. How? There are two ways. The first is simply having an idea of what’s going to happen in the story’s future, and spotting opportunities to drop little hints (usually accompanied by snickering behind a hand and statements like, “They’ll never catch this!”). The other is to link ideas backwards as you go along. A book being written is almost a living thing – it expands and grows as the author writes it, sometimes turning into something entirely different than was initially intended. A writer can keep in mind things they wrote previously in the book and be just as amazed as the reader when it turns out to be a hint later in the book. This is done much like guessing at what will happen next when you’re reading – only, as the writer, you get to decide what actually does happen. The writer writes something, uses it to make a prediction of what it could mean for the future, then makes it happen.

            So, Young Colleen wasn’t entirely wrong – sometimes writers do put the foreshadowing in as they go, and it can be very impressive. But, as with all skills, it’s important to remember that there’s more than one way of doing everything, and none of them is better than the other. The important part isn’t how you create the foreshadowing – what matters is having enough foreshadowing that when the reveal comes, the reader can put together all the pieces and feel like the story is plausible.

Check out my YouTube channel where I tell the stories of my D&D campaigns.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Writing Life

Sometimes the words go down one sentence at a time,

Sometimes they go in leaps and bounds.

Sometimes you drag the words from the depths of a chasm,

Sometimes you wonder where they’re coming from and if they’ll ever end.

But the words keep on coming.

There are times when the words are good,

There are times when the words are bad.

There are times when you think the words are the best you’ll ever write,

Only to come back later and hate them.

But the words keep on coming.

A time will come when you must read the words,

You must judge their merit and change them.

A time will come when you must destroy the words,

When you must give up on rearranging them.

But the words keep on coming.

After an eternity the words will be complete,

The pages filled and grammar thrice-checked.

After an eternity you can see the end,

At last, perhaps, you can rest.

But the words will keep on coming.

Check out my YouTube channel where I tell the stories of my D&D campaigns.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

The Art of Writing

            All you need to start is one word. Just one. In fact, you don’t even need that – you could start with a single letter, although that is much more difficult if you don’t know what to follow it with.

            You take that one word – or letter, as the case may be – and follow it with another, stretching it out onto a sentence. If you want to get fancy, you can even add some punctuation, making it a compound sentence.

            Then, you do it again, adding a second sentence, then a third. (It is always a good idea to vary the sentence length.) Before you know it, you have a paragraph and you’re ready to do it all over again.

            Except, this time, the words and ideas are different. Just as the paragraph after that – and after that – are different.

            It doesn’t have to be perfect. The words can be changed later; the grammar fixed; the ideas altered. The act of writing is the important part. You aren’t chiseling it into stone – the details can always be changed.

            Just take it one step at a time – one word at a time. It happens faster than you think. You have a blog post. A chapter. A short story. A book.

            Writing is more than a skill. It is an art. It takes practice. It takes time. But when you’re finished, you have something you can be proud of – because, if you aren’t proud of it, that just means it isn’t finished yet.

            All it takes to start is one letter. One word. One sentence. From there, it grows and builds momentum until it is complete.

Check out my YouTube channel where I tell the stories of my D&D campaigns.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Different Ideas

            This week I came across a list of things writers are afraid of that they shouldn’t be, and at the top of the list was: other people stealing their ideas. And it’s true – I have yet to meet an author who wasn’t trepidatious about sharing their work because they were afraid of their ideas being stolen. It’s not just that someone could copy our work – it’s the fear that someone else might take our ideas and produce something with them before we do. Even worse, what if they produce something better than we do?

            There were to incredible arguments about why writers don’t need to fear their ideas being stolen. The first was that, quite simply, authors have so many ideas of their own, they aren’t about to go around stealing someone else’s. It’s true. Every writer I have ever met has had more ideas for what to write than they could ever write in their lifetime. I know from personal experience that for every book I write, I end up with two more book ideas – I’ll certainly never need to steal from someone else!

            I found the second argument even more compelling. Even when you share an idea with someone, their vision of that idea will be completely different from your own. We all view the world differently and, as a result, the way we flesh out ideas are all completely different.

            The reason I found that argument more compelling was because I have personal experience proving it true. Many years ago, a friend shared an idea with me. She said she wanted to write a story about a haunted piano. I thought this was brilliant! A ghost haunting a piano sounded absolutely fantastic to me and I was very excited to read the story.

            Once she had written it, however, I was very disappointed. The story was very well written, but it didn’t come close to what I had envisioned from the idea. It was a tale (as near as I can remember) of someone who acquired an old piano, and then the piano had possessed them and they proceeded to waste away their lives playing the piano – writing music and reaching for an impossible imperfection.

            I was so disappointed in the results that I wrote up a story of my own so I could share my take on the story of a haunted piano. This was a piano in a secluded alcove that could play itself. A person, coming upon the piano but not knowing how to play, played a few random notes. When they went to leave, the piano played the notes back – and then proceeded to build a marvellous song around those notes, to the awe of its audience. To me, it was such a compelling scene that I built it into the first novel I ever wrote.

            Both stories stemmed from a single idea, yet that idea took on extremely different shapes for each writer. How would a third person interpret the idea? A fourth? I couldn’t say, but I do know that I’m no longer as worried about people stealing my ideas.

            What about you?

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Rewriting

            Whenever you write a book, it’s always a good idea to have beta readers. After all, you need other people to read the book and tell you what they liked and disliked about it. More than that, they can help you edit. No one can catch every error, after all, so the more eyes, the better.

            Then, of course, you occasionally have a beta reader who makes a suggestion that drives you to do a complete rewrite of your book – such as the rewrite I’m working on right now.

            Rewriting is an interesting process. This is actually the first time I’ve done a full rewrite of a novel – several years ago I did rewrite the first chapter of the first book I wrote (it subsequently became two chapters), but nothing as big as this.

            When you rewrite, you basically have two options: you can start from scratch and hope anything worth keeping stuck in your head well enough to find its way into the new version, or you can constantly reference the old version to make sure you’re keeping everything you want.

            Oddly enough, what I’m doing sort of combines the two. The suggestion leading to this rewrite was based around the idea that I should split the book into two (or even three!) full novels – one for each of the main characters I was working with. The idea intrigued me, but it also drastically altered sections of the plot. However, the more I thought about it, the more I liked what I could do with it.

            And so, I began the rewrite, which involved mixing whole new scenes with some of the old ones. As such, when I’m able, I reference what was happening before to ensure I get the important details and my favorite wordings, yet there’s a lot of time spent writing entirely new content. So far, the results are good – although, it seems I may have a tendency to expand each chapter into two when I’m rewriting.

            It is a tedious process – it’s like writing a whole book over again, when you already wrote it once. Yet, even a short ways in, I could already tell that the new one was an improvement over the old. So, with that alone, I can say rewriting is worth the trouble. By the time a book gets published, you want it to be the best it can be. If that involves writing the same book multiple times, so be it. The end result will be worth it.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Evil Vegetarian Elves

            Of late, I’ve been reading the Inheritance Cycle (by Christopher Paolini) to Colleen. As a result, you now get to hear about one of my biggest pet peeves in fantasy: vegetarian elves.

            To start off with, I should probably say that this is in no way an attack on vegetarianism or veganism – it is merely my opinion relating to an aspect of world building.

            Now, I completely understand the concept of elves being vegetarian – from a certain perspective, it makes complete sense. Elves revere nature and life, so wouldn’t they be opposed to killing animals?

            However, I can very easily refute that argument by saying: take a close look at nature. In nature, it is kill or be killed. Eat or be eaten. Yes, some animals eat only plants, but that’s because they lack the ability to eat meat. Elves are one with nature and, as such, would partake in the natural cycle of life. To abstain from eating meat would be to elevate themselves above nature.

            That said, it is also important to go back to the roots of modern fantasy. Tolkien. This is where we start, because prior to Tolkien, elves were all short sprites like the ones who help Santa. Tolkien reinvented the race into what is used in most stories.

            So, were Tolkien’s elves vegetarians? No. Thanks to the movies, this isn’t common knowledge because the idea that elves are vegetarians is so widespread that it managed to get into Peter Jackson’s interpretation. However, in The Hobbit, when Bilbo and the dwarves are in Mirkwood, they find themselves on the outskirts of a hunt – involving elves hunting a white elk. Later they come upon the elves feasting and, yes, meat is mentioned.

            This is the point where we reach why this becomes a pet peeve of mine. It can easily be argued that each writer is at complete liberty to make their world whatever they want it to be, which is entirely true. So what’s wrong with vegetarian elves? Internal consistency.

            When aspects of a world are created, even a fantasy world, they have to make sense. For that, let’s look at the common traits elves always have. Pointed ears. Graceful bodies. Keen eyesight and hearing. Exceptional archery skills.

            This last one is the problem. Exceptional archery skills. Why are elves exceptional archers? They are generally a peaceful race, so they would have no need of weapons unless threatened – at which point, they’d have to learn pretty fast to be that good at archery. There are easier weapons to use. No, they aren’t exceptional archers for the purposes of war – it is because they are hunters. And as they are so attuned to nature, they would not hunt for sport – only for food. Thus, for elves to have archery skills (and tracking skills, for that matter), they must eat meat.

            All of that said, it is possible for elves to be vegetarian – the world building just has to match. And, while it was his books that inspired this post, Paolini actually did a good job on the world building end of making his elves vegetarians – they have a reason for their choice and instead of exceptional archery, they’re simply very good at all forms of fighting due to their age, magic, and super-strength (making them more like Vulcans than traditional elves).

            So, in conclusion, elves can eat whatever they want – but the world and their abilities had better support their food choice.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her life coaching website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Writers and their Characters

            Writers, by necessity, must have a very complicated relationship with their characters. It’s not as simple as creating them and then throwing them in the story. No, you have to care about them and hate them at the same time.

            You see, it’s essential for a writer to care about their characters. If the writer doesn’t care about the character, neither will the reader. It shows in the writing. Oh, there are ways to make it look like you care about a character when you don’t, but they are contrived and lessen the reader’s connection to the story. Actually caring is the only way to organically transfer the feeling into the writing.

            That said, if the writer cares too much, it creates another problem. It makes the plot fall short, because the writer isn’t willing to have (as) bad things happen to their characters. The character also tends to have less flaws. The result is that the character strolls through their trials with ease, never truly losing anything, never being forced to make a difficult decision.

            The solution is that the writer must hate their character with a fiery burning passion. Feeding on that hatred, the writer can throw obstacle after obstacle at their character, laughing maniacally all the way. The character will make mistakes and lose friends, precious possessions, limbs, or even their lives. And the story will be interesting.

            However, if the writer hates the character too much, then the character will lose their depth and the reader won’t be able to connect. If the character becomes nothing more than a bland punching bag, waiting for the next blow to fall, the reader will lose interest and likely walk away. So, the writer must care deeply about the character.

            It’s all about balance. You need to be able to care about the character so much that is shows through in the writing, while hating them so much that you can put them through the worst ordeals of their lives. You must be able to cry as their souls are crushed, even as you’re squeezing tighter.

            A writer must have a relationship with their characters worthy of writing a story about.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her life coaching website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Paths to Power

            As a writer, it is important to be aware of the many different avenues to power. Both protagonists and antagonists need power, but all power must be explained. Why to minions throw themselves at superior foes? Why do people follow the protagonist’s leadership? All power must come from somewhere.

            Power through strength. Strength is the simplest, most basic form of power. Someone wants leadership, so they take it by force, beating back all challengers. This is the first avenue to power discovered, although in modern times it’s somewhat outdated. It works in smaller environments (bullies have power in their chosen domain) but it’s extremely difficult to take over a country by beating up its leader.

            Power through fear. While it is true that power through strength has a connection to fear, fear itself is far more versatile. A leader who gains power through strength can maintain it by having people too afraid to challenge them. Or fear can be used to establish power in the first place – with threats of powerful weapons, revealing dark secrets, or the wrath of a deity. Yet another angle is fear of an enemy – leaders can easily rise to power if they appear to be the only solution to some great threat – such as an enemy army, a plague, or a change in ideology.

            Power through commerce. By controlling important resources, power is gained. There isn’t much people won’t do if it’s the only way to eat. People can be enslaved to money, for fear that without it their lives will end. With large amounts of resources or money comes great power.

            Power through charisma. It is possible to gain power just through being likable. If someone is liked – be it for their winning personality, good looks, or ideological viewpoints – people will follow them. With enough people comes power.

            Power through knowledge. Knowing more than others gives a distinct advantage. People always want someone to look to for guidance – if someone can prove themselves reliable, they can become that person and gain power.

            Power through education. Control what people think and you control the people.

            Power through deception. Tell the people what they want to hear; convince them that it’s true. They will follow, as long as they believe.

            Power through mystery. People are a curious bunch. Someone who can keep them fascinated, keep them guessing, can go a long way.

            There are so many routes to power, and each one has its own facets. Always make sure you know where the power is coming from and how it influences those around the one who has it. Not only does it add depth to a story, it tells you how to unravel that power.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her life coaching website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Hivemind

            So, I’ve talked before about the editing process I go through each time I finish a book. With my latest complete book, this has been added to slightly and I thought I’d share some of the interesting things I’ve learned.

            Now, as mentioned before, my editing cycle usually goes: I edit, my wife edits and fills in the spaces I’ve left for her, I edit, then I send it off to my parents (my mom line-edits, my dad gives me content feedback), then I edit again. This time I decided to reach out to a larger group of beta-readers, adding a few more layers to my editing.

            Why did I decide to do that this time? Three reasons – the first is that I have way more confidence in this book than any of my previous ones (I’m really happy with it! It’s very rare for any writer to actually be happy with what they’ve created), the second is that one of my dad’s coworkers asked to read my latest couple of books and he gave me some really important feedback on how some world building seemed absent from the book – something missed by everyone else because they’d read my previous books set in the same world. The third and final reason is that I was trying something risky with this book (it’s a secret!) and I needed a wider pool to test if it was working.

            I haven’t collected back in all the feedback yet, but what I have heard has shown me some interesting things. Because I’m getting feedback from so many more people than usual, I decided that, rather than go through the book with each set of editing suggestions, I would compile them all in one place. This way, I can compare the suggestions from multiple people and – best of all – see where they overlap.

            Of course, everyone is providing feedback on a level they are comfortable with – some just give feedback on content, some line edit, and some do both. As I’m adding in all the editing suggestions together, it’s fascinating to see the overlaps. Sometimes, multiple people suggest exactly the same edit (which is really cool to see, even it’s usually typos). Other times, I end up with multiple solutions to the same problem – which is really helpful because, not only do I have multiple suggestions to choose from, but it highlights when several people get caught up on the same thing that I might otherwise pass off as something of opinion or taste.

            Just as fascinating is seeing what different people catch. This is most obvious with typos – it’s easier to forgive myself for the number of typos that slipped by my notice when I’m seeing some editors catching typos that other editors missed.

            As for that risky thing I mentioned – that is the neatest thing of all to see. So far I’ve received the same feedback across the board on it (except from the one speed reader, who I believe missed the key introduction). Overall, everyone understood what I was doing and approved (though one, while approving the concept, did question the necessity of it and we had a great conversation on the topic), but they all had trouble with one minor, easily changed aspect of it. This was exactly the feedback I was looking for and now I can make the essential changes. I know, I know, I’m being cryptic and you have no idea what I’m talking about – you’ll just have to wait for the book to get published so you can read it.

            So, the moral of the story is that having a large pool of beta-readers to help improve your book is a wonderful thing. I’m so glad I reached out to more people than usual.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her life coaching website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Overuse of Suspense

            Lately I’ve been seeing a trend in a lot the shows I’ve been watching. It is the overuse of suspense.

            Suspense is an incredible tool for any form of entertainment. It’s what keeps the audience on the edge of their seats, engaged, and coming back for more. However, like all tools, it must be used in moderation.

            Unfortunately, the TV world is run on ratings – to get those ratings, as many people as possible need to be watching the show. What’s the easiest way to get people watching? Suspense. Putting a cliff-hanger at the end of every episode is a sure-fire way to keep the audience interested – and talking about – the show until the following week or season.

            But then the suspense begins to lose its effectiveness. The audience starts to expect it and not only does it stop compelling them to come back as much, it becomes... well, boring. Predictable. The moment everything is seeming to work out, the audience already knows that something terrible is about to happen. The urgent desire to find out what happens next is replaced by an exhausted, “What, this again?”

            When I was learning about suspense for my writing, I picked up one very important tip: give the audience a break sometimes. It is essential when working with suspense, because otherwise the suspense has the opposite effect from what was intended. I good tip for making a plot interesting is to chase your character up a tree and then throw rocks at them, but there’s one very important thing to remember: sometimes, the character has to succeed. If there are no victories, there’s no hope – and hope in impossible situations is what really keeps the audience engaged.

            The other thing to remember is that suspense can be subtle. Everything can turn out well at the end of an episode or chapter and the audience will still come back for more if there are questions left unanswered. There doesn’t always have to be a cataclysmic, plot-wrenching disaster.

            So, use suspense, but use it in all of its forms. Apply it with a brush, not a roller.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her life coaching website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Rules of Time Travel

            In fiction, there are three main concepts for time travel. Each of them have their own rules that must be followed in order to maintain consistency.

            One of these methods is the constant timeline. This is the theory that events throughout time cannot be changed at all. Characters can travel backwards or forwards in time, but anything they change was already accounted for and had been changed for them. A perfect representation of this is in Harry Potter and the Prisoner of Azkaban, where the characters travel back in time in order to save some lives, only to discover that they had done so all along – one of them had even caught sight of themselves before they knew they were traveling back.

            Next is the theory that time is fluid. In this theory, a time traveler can go through time, changing whatever they want – and, in turn changing the future, sometimes with disastrous results. This is sometimes tempered by a rule that history will work itself out, such as in the Dr Who series where the Doctor and his companions are constantly saving people and changing things without altering the course of history.

            Thirdly, we have the dimensional theory. In this case, as in the fluid one, time travelers can change the course of events, but each change branches off a new dimension of reality. The changes are there for the people moving through time, but the other dimension (where the time travelers came from) usually remains unchanged. I some cases, if a big enough change is made, this method allows some branch dimensions to be erased, or at least cut off from the other dimensions. An example of this can be seen in the Back to the Future movies, were the main character nearly causes himself to have never existed – and later finds himself in an alternate timeline that is nearly apocalyptic.

            Now, it really doesn’t matter which theory of time travel is used for any particular work of fiction. It needs to be chosen to fit both the story and the world well. The important part is that once a rule set is chosen, it gets stuck to. Every story – or series – needs to follow the same rules, without jumping from one rule set to the other. As soon as the established rules are broken, the internal consistency is broken and the believability of the story falls to pieces.

            So, if you use time travel, choose and choose well. Then stick to it, no matter what.

            This semi-ranting blog has been inspired by Harry Potter and the Cursed Child – an good story, except for the part where the internal mechanics do not match those established earlier in the series.

Click here to find the charity anthology containing a couple of my short stories.

Also, make sure you check out my wife's blog and her life coaching website.


If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Knowledge Pools

            I’ve said before that writers need to be experts on everything. It’s true. That’s how books are convincing enough to hold people’s attention. Make one mistake and... well, you’ve seen how the internet responds.

            There are two directions that knowledge for a book can come from, though. The first, and more obvious one, is to look something up when you need it. Do you need to know how silk is made? Look it up. You want to know how far a horse can travel in a day? Look it up. Maybe make a chart, because you’ll need that again. If you want to know a creative way to kill someone, look it up – and hope the police believe that you’re an author.

            However, that doesn’t solve the question of what to write in the first place. If you don’t know what a volcano is, you’re hero isn’t going to make a heroic escape from an impossible situation involving being suspended over bubbling lava. Even if you don’t know the particulars of volcanoes, as long as you know they exist you can look them up when you need to.

            That means writers need to know as much as they can about the world so they can incorporate their knowledge into their books. To a certain extent, that can be done simply by observing the world around you. It isn’t a joke when you see those (usually threatening) posts about authors putting random people they meet into their books. That’s what writers do – absorb the world around them, mix it up, rearrange the pieces they like and create art.

            There’s only so far personal experience can go, though. If you limit yourself to that, you’re missing out on a whole world of inspiration (even if you have the ability to travel the world, there’s still only so much you can learn). So, we turn to other sources.

            Books are great. That’s why we write in the first place – we love books, so we want to make more books. However, reading takes time (especially for slow readers like me) and most people only read for either enjoyment or specific research. You can pick up on some unfamiliar topics there, but it still has its limits.

            So, over the last year, I’ve taken to watching a number of the documentaries available on Netflix – and they are a veritable fountain of knowledge. Watching through the Planet Earth series made me far more aware of natural phenomena in the world that I never would have considered building into my world before, but are now a big part of bringing amazing settings to my books. Characteristics of animals help me develop more believable fantastical creatures. The Ancient Balck-Ops series (which I watched on Saturday – yes, all of it in one day) gave me great insight into historical tactics, weapons, and cultures that immediately had by mind swimming with ideas for how to improve my world.

            Now, to be fair, documentaries play well to my lifestyle. I have plenty of time to watch them, since I’m usually watching something while working for my chainmaille business. Still, I’ve yet to find another source that delivers so much information in a short amount of time – teaching about so many new things that can be drawn on at your leisure, and researched if more information is required for your uses. Documentaries are a gold mine of knowledge and inspiration.

Click here to find the charity anthology containing a couple of my short stories.

If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

The Journey of the Outsider

            Something I’ve noticed is that a lot of stories – especially in fantasy – are about outsiders. The main characters tend to come from places where they’ve been cloistered off from the rest of the world, if not from an entirely different world all together.

            I’ve realized that at least part of the reason the reason these outsiders make such good main characters is because of how much it helps the author display the world. It limits the character’s knowledge and, as a result, allows the reader to learn about the world as the character does. That farmer living in a secluded village has a lot more to learn than a well educated scholar who is already immersed in the world.

            As readers, we are more forgiving to be told about a world if we’re learning along with the character. We don’t like the story being interrupted so we can be lectured about the world. If it’s the character who is learning, it’s then part of the story. We’re also more willing to accept mistakes the character may make out of ignorance, because we know everything that they know. It doesn’t matter if it’s common knowledge in the world – we didn’t learn it, so it is acceptable that the character also lacks this knowledge.

            Imagine how different the story would have been if Harry Potter had been raised within the wizarding world instead of with muggles. Or if Ron or any other wizard born character had the lead role. All the things that had our imaginations staring around in wonder and delight would have been every hay hum-drum to the main character. Instead of rubbernecking his way along Diagon Alley, pointing out all the wondrous shops, it would have been like a stroll in the shopping mall. We would have been lucky to have our attention drawn to the Nimbus 2000. All the magic would have been sapped out of the world because it was so normal to the character.

            Would Narnia had been so fantastic to someone who grew up there? Would a journey across Middle Earth have been so incredible if hobbits weren’t so reclusive?

            The reader is an adventurer, traipsing into an unknown world. Were we going there ourselves, we would want an experienced guide who knew the place. We aren’t, though. We are following along the experiences of our guide. If we want to experience the new world for ourselves, we need our guide to look upon it with the same wide-eyed wonder as we would.

            The journey of the outsider brings a new level of depth to a story. It’s no wonder we see so much of it.

Click here to find the charity anthology containing a couple of my short stories.

If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Editing Out Loud

            A long time ago, I came across a suggestion to edit my books by reading them aloud. I neglected to do this for a long time for two reasons: I tend to avoid doing things that make sound, if at all possible, and I figured that there was no point since I read in my head as if I were reading aloud (slow, I know, but I get far more enjoyment out of reading that way).

            Then, I had a great idea. I often read books to my wife anyway, so why not read one of my books? Since she already helps me edit, it kills two birds with one stone.

            It works wonders. Reading a book out loud helps smooth out wordings that look fine on the page. More than that, it roots out typos far better – on the page, the mind can subconsciously correct them, allowing those careless errors to slip past unnoticed, whereas speaking them aloud focuses the attention more.

            So, that’s my latest writing tip for you. Find someone to read to and edit out loud. You won’t regret it.

Click here to find the charity anthology containing a couple of my short stories.

If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

Self-Restrictions (Or the overused "Let It Go")

            There comes a time for every writer when they learn how to let go. Sometimes it’s ideas we need to let go of, or characters, other times it’s habits. But we writers tend to be sentimental and it’s hard to let go of ideas we’ve clung to for a long time.

            For me, this time came when I started to take a good hard look at my fantasy world, wondering what made it stand apart from others. There’s really quite a lot that makes it unique, but all the key surface elements are familiar. I have humans, elves, dwarves, goblins – and they’re all about what you’d expect them to be, with a few twists of my own added in. Yet, on the surface, very familiar.

            There are three reasons for this: the first is that I started developing this world when I was twelve or so and, at that age, it’s really difficult to not borrow heavily from what you know. The second is that I wanted that familiarity there to help people acclimatise to my world. The third was because you have two choices when creating creatures in a fantasy world: go with the common ones, or make up new ones that serve the functions of the old ones (such as the Urgals in the Eragon series which take the place of goblin/orc creatures, as do the Trollocs in the Wheel of Time series where there are also Ogiers that function as a combination of elves and dwarves).

            So, have I decided to drastically change my writing to replace elves and dwarves? No, although I did strongly consider it. I realized that, if I eliminated them, I would just replace them with something else. I did, however, decide to personalize them more – make them more unique to my world.

All of this made me take a closer look at my world and what I’ve been clinging to. That’s when I discovered the biggest thing that was holding my writing back: my world. It’s too big. You’d think that a big world would offer more freedom for writing in, but that’s before you have to coordinate events across an entire globe with a timeline spanning hundreds or thousands of years. It’s a bit much for one mind to hold all at once.

            So, I’ve had to step back. Rather than forcing my stories to fit my world, I’m now allowing my world to for my stories. It has opened up endless possibilities and has made writing life much easier.

            That’s my latest tip to all you writers out there. Look to yourself and your own writing to figure out how you’re holding yourself back. Then push back your self-made restrictions and broaden your horizons.

Click here to find the charity anthology containing a couple of my short stories.

If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.

World Building is Fun

            I think one of the most important traits in an author is a love of knowledge. Why? Because we have to know the oddest things so we can make our books realistic. Some of the most obscure things come up.

            Recently I’ve been doing a lot of world building, getting a very detailed portion of my world developed for a series I’m planning. My research taught me all kinds of things, like you can raise 100 pigs on the same amount of land you need for one cow (free grazing – about 5 acres, in case you’re curious), that dinosaurs only lived about 30 years, and that there are vast stretches of underground, water-filled caves that are the only sources of fresh water in some parts of the world.

            I saw a quote once (and can’t find who said it) that an author must be an expert on everything. When Terry Pratchett wrote The Amazing Morris and his Educated Rodents, he said that by the time he was done, he knew more about rats than anyone would ever want to know.

You might wonder why what seem like minor details matter so much, especially in fiction. Couldn’t we just make it up? Well, yes, we could. But then, along comes an expert in horses to tell us that horses treated the way they are in the book would die from being ridden too hard. This is a bad thing on two fronts – first, it conveys inaccurate information to people and it’s amazing how easily people believe what they read. The second is that it ruins the realism of the book for anyone with that knowledge of horses – which is terrible. Fiction is meant for people to enjoy, after all.

            So, an important part of the writing process becomes research into the oddest things. I can only imagine how often mystery writers worry what people would think if they could see all their Google searches related to how to kill people. It takes less than a pound of pressure to cut skin.

            With all the bitty details needed, enjoying learning becomes mandatory. Otherwise, writing becomes tedious work – and, really, why bother writing if you don’t enjoy it? I’m lucky in that I’ve always loved learning. On the flip side, my research skills are lacking, so it takes me a while to find what I’m looking for, but I tend to pick up a few extra tidbits along the way. I gain lots of new information, then add it to my arsenal for developing believable worlds, stories and characters.

            World building is fun!

Click here to find the charity anthology containing a couple of my short stories.

If there's any subject you'd like to see me ramble on about, feel free to leave a comment asking me to do so.