#writetips

[theauthorpaula]

(via Basing Characters on Real People: Okay or Not?)

[cmrosens]

Fantasy Religions: Rethinking Hell & Prayer

I'm creating a fantasy hellscape and death realms so I had some thoughts about that for worldbuilding:

What happens if your hellscape isn't a place of punishment? What alternatives are there to "punishment" as a concept, and what does that say about your fantasy religious system(s) and so on?

like: I'm using a system where it's about how you die. It literally doesn't matter what you were like as a person, if you die in a specific way, you go to the corresponding realm of the dead and you're at the mercy of whoever's realm that is. If they are pretty nice and the place is the one everyone wants to get into, you may need to convince the gatekeeper to let you in when you get there, but that's doable. Also people might then try and manipulate their deaths to fulfil the criteria for getting where they want to go.

It's also fun because then people can go to hellscapes (various) even if they don't deserve it, and what happens then? Can they escape? Can they journey through and find a way out? Can everyone?

Do/how do prayers function in this system?

Are people praying to a deity that can hear them?

How do they try and get said deity's attention and why is that meant to work?

If the deity/deities are very annoyed by the prayers of the living and have deliberately made it difficult for prayers to reach them, what then?

Or, is it more that the living require someone to open a channel of communication so they can be heard, and this also helps the souls of the dead in some way?

Can prayers benefit the dead? How and when?

Can the dead pray for themselves/for the living, so it operates in reverse?

I'm going with the system where you can't pray for yourself, that's an alien concept, because the person who prays becomes a conduit or a channel for somebody else. They have to try and make their mind go blank with repetition of words given to them by the wind - which carries the voices of the restless dead, who died without anyone to pray for them and open a road for them to travel on - and in that moment of blankness, the soul they are praying for can cross over from life to their appropriate death realm. If you don't have someone to pray for you like this, your soul joins the wind forever, and you are just a whisper bringing warnings and bad news to people, and telling them what to pray for everyone else.

This is based on the old folklore that you can hear the voices of the dead on the wind, I think it pops up in Flemish folklore in some form, but also I've heard it elsewhere. I just adapted it.

From this, you can build outwards and work out fantasy religions and philosophy and ideology. Just keep asking questions, layer on layer, and see where this goes, as your answers are the scaffolding and the shape will grow from those first decisions you make.

Like, ok, what's the terminology for these concepts and processes (do they even have words like 'hell' and 'prayer')? How do these terms show up in the language and casual conversation - idioms like "he hasn't got a prayer" or "not a hope in Hell" wouldn't work if prayer isn't something that's synonymous with 'chance this will work out', because in this world, the idea of asking for something in prayer doesn't exist.

So in my world, for example, 'he hasn't got a prayer' wouldn't mean 'he doesn't stand a chance', it means, 'he's going to join the restless dead because he's got no one to pray for him'. That might be used for a very unpopular person: he's so bad, he hasn't got a prayer. (He's such a bad person that he hasn't got anyone who will pray for him when he dies). Or, a very lonely, isolated person: I think that's so sad - living alone without a prayer.

Similarly, if there's no Hell, then all the idioms that use "Hell" as a place of punishment no longer apply, and if there's no equivalent, then "not a hope in Hell" would have to be retired and swapped out for something else that does make sense in this world instead.

Conversely, "living on a prayer" like Bon Jovi would mean "selling my ability to pray for you", like a service that people offer so you don't join the wind, or go to the wrong death realm, or that you'll get passed the gatekeeper if a prayer operates like a ticket to enter, or whatever this might mean in your world.

If this is something that can happen, how are these people seen - as necessary to the community, or as unscrupulous opportunists? Bit of both? There's a whole interesting series of characters you could develop from just that concept, which might draw parallels with the sin-eater figure. And what happens if someone who doesn't deserve a lovely afterlife pays someone to pray for them so that they get entry into a lovely death realm?

There's a lot to play with when you just take one idea away, and try to swap it for something else. In this case: Hell isn't a place of punishment, so what is it then, and does it exist at all, and if not, what is there instead and how does it work?

That's a good place to start with building fantasy religions. I've already done a few other posts on my thoughts there!

EDIT: I'm doing a workshop on Build A Hellscape at the Devils and Justified Sinners online conference, Saturday 24th Aug 2024, 9AM UK Time. Sign up below:

[plotandelegy]

Crafting Spells with Incantations: A Primer for Fantasy Writers

1. The Roots of Language & Power: Think about languages. Why is Latin so captivating to many? Elvish words from Tolkien's Middle Earth gives us a sense of nostalgia. Incantations borrow from the weight and mystery of forgotten or invented tongues to create allure in our fictional works. Authors might want to consider phonetic aesthetics and rhyming words. Cadence can distinguish between magic that stays with the reader or falls short.

2. The Binding Element - Intention: Fancy words can enchant, but intention carries power. Consider the caster's emotions, desires, and the cost of wielding the magic. A simple spell to light a candle may be whispered, while summoning a storm might require a shout. Emotional resonance adds depth to your magical system. Depth can make it more relatable and memorable. 

3. The Harmony of Gesture: Incantations are often paired with gestures. The flow between word and motion can amplify potency. Perhaps the caster must trace a key through the air to open a door. Visual clues help readers see spell casting in their minds. 

4. The Complexity of Consequence: Let spells have consequences. Mispronouncing an incantation could come with disastrous or unexpected outcomes. Spells can backfire if cast with doubt. Create checks and balances that challenge your characters. 

5. Soundscapes of Sorcery: When performed correctly, what sounds accompany the spell? What sounds come when the magic is incorrect? Spells that summon forth storms release echoing booms in the distance. Offer readers a multi-sensory experience where they can 'hear' the magic too

-Indigo

If you’d like more check out my article on unique and classical sources of magic.

[characterbook]

Characters are the heart of fiction. 😀

[nauticalnotions]

The Art of Character Development: How to Breathe Life into Your Fiction

Welcome, Fellow Writers!

Are you ready to breathe life into your characters and have them leap from the page into the hearts of your readers? Good! Developing characters is one of the greatest enjoyments for writing fiction. So let's get started on this great journey of discovery!

1. Get to Know Your Characters

Before you write convincing characters, you need to really know them. Think of your characters as human beings with past histories, dreams, and flaws. Here are some ways to get to know them better:

Backstory:

What in their past has made them who they are?

Did they have a happy childhood?

Were there any traumatizing events?

This will often determine motivations and actions.

For example, if your character has been brought up in an orphanage, they may have trust issues or perhaps independence.

Personality Traits:

Are they introverted or extroverted, pessimistic or optimistic?

Knowing their core personality will help project what their actions and reactions would be like in a given set of circumstances.

Perhaps your protagonist, Emma, is an extroverted optimist who lights up a room with brightness, even in dire situations.

Strengths and Weaknesses:

Nobody is perfect, and your characters shouldn't be either.

Make the characters more human by giving them something both admirable and a flaw that rounds them out.

Emma can be wonderfully brave but very impulsive, leading her sometimes to heroism and other times to disastrous folly.

2. Establish Clear Goals and Motivation:

Characters need goals for the plot to have direction and motivations to explain why they pursue those goals. Ask yourself:

What do they want?

Their wants vary from saving the world to searching for love to achieving personal redemption.

Emily, a draftsman, aches to be a famous explorer, a dream her long-dead father never attained.

Why do they want it?

This can be found in their backstory and personality.

Perhaps Emma's father was an explorer who went missing on a wild search, and now she feels a deep need to carry on his legacy and find out what happened to him.

3. Show People, Activities, and Scenery

Dynamic characters tend to rebuild and alter throughout the story. This is often based on life's complications and conflicts. Here's how to effectively outline your character growth:

Conflict:

Put your characters in situations that push them as far as possible.

These challenges force them to make uncomfortable choices and face their flaws.

For example, Emma has to decide whether to save a friend, testing her bravery and impulsiveness.

Reactions:

Show how your characters react to these challenges.

Do they rise to the occasion, or do they struggle and fail? Both outcomes can lead to growth.

Emma might fail to save her friend due to her impulsive nature, marking a turning point for her.

Introspection:

Allow these moments of introspection to your characters.

They allow readers to understand the change in them.

Emma could sit near a bonfire and reflect on her father's legacy and how to become a better leader.

4. Cultivate Relationships

People's relationships with others often define their personality. It might be a friendship bond, family attachment, or enmity; all reveal different dimensions of personality and contribute to character development. Consider:

Allies and Friends:

Allies and friends usually have your best interest at heart, but sometimes they could work in opposition to you.

How would they impact your protagonist's decisions and developments over time?

Emma's best friend, Leo, might argue with a lot of her decisions, making her more thoughtful.

Opponents and Antagonists:

An antagonist challenges the characters, putting them in situations where growth comes from unexpected places.

A realistic rival for Emma could be a highly skilled but ruthless explorer who pushes Emma to reconsider her methods.

Love Interests:

Romantic relationships show vulnerability and may drive change.

Falling in love with a local guide might teach Emma the importance of patience and planning.

5. Use Dialogue Effectively

Dialogue is a great way to develop a character. It reveals personality, conveys emotions, and shows growth. Consider:

Voice:

Each character should have a distinct voice corresponding to their background, personality, and state of mind.

Emma might use exuberant, adventurous language while Leo might be cautious and thoughtful.

Subtext:

Sometimes the unspoken part holds more meaning than what is said.

Use subtext to add depth to your dialogue.

For instance, when Emma says, "I don't need help," it could mean she's afraid of showing weakness.

Conflict and Resolution:

Show characters responding to conflict through dialogue and illustrate how interactions escalate.

Emma and Leo can argue about the best way forward, expressing their viewpoints and eventually finding a resolution.

6. Show, Don't Tell

Instead of telling readers about a character's trait, show it through actions, dialogue, and inner thoughts. For instance:

Telling: John was brave.

Showing: John entered the dark alley; his heart was pounding, but his will remained unflinching.

7. Ensure Consistency and Believability

Make sure your characters act within the line of their personalities and motivations. If they do something that feels unnatural, believe there are reasons for the change. This makes the development of the characters organic and reliable. If Emma becomes reserved, note the experiences that lead to the change.

8. Reflect Real Human Experience

Great characters reflect the complexity of real human experience. They have doubts, make mistakes, and aren't always likable. This complexity makes them richer and more engaging. Perhaps Emma makes a selfish decision that puts her team at risk, creating tension and growth.

9. Foils and Contrasts

Foils are characters set against your main character, highlighting their traits and growth. By setting a character with opposite traits next to the protagonist, you highlight their development. Zara's ruthlessness can highlight Emma's growing sense of responsibility and ethics.

10. Be Flexible

Sometimes your characters develop in unexpected ways. Allow this evolution and let your characters tell you who they are. This elasticity can lead to more authentic and surprising growth. If Emma's journey shifts from being an explorer to a leader, embrace it!

[theaddictionfiction]

(via Writing About Substance Abuse in Your Fiction)

[paulapuddephatt]

(via Character Development: Inspiration - Part 1)

[newadultfiction]

(via Writing About Substance Abuse in Your Fiction)

[literarygeneralfiction]

(via Child Death in Fiction: Dealing With Tragedy in Your Writing)

[legacywrite]

(via Child Death in Fiction: Dealing With Tragedy in Your Writing)

[distortedperceptionsgirl]

[theauthorpaula]

(via The End: Writing Your Novel's Climax)

[cmrosens]

Worldbuilding Thoughts 3

Ok so one thing I don't see very much in medieval fantasy settings with a royalty system is the issue of the monarch travelling with a retinue. If you're writing one like GoT and you're into the whole idea of the monarch needing to travel (trust me, if it's medieval, they really do need to do a circuit of their kingdom, even if administration and judicial system has been centralised. If you don't, you can't monitor the nobles on the periphery, and you ... really need to do that).

If this is something you've considered, ignore, if not, I was just thinking about the medieval England situation for the earlier kings (William I to John).

Do you know how many the king travels with?? How many guards how many horsemen, lads to take care of the horses, courtesans, scribes, courtiers who need to stay close, accountants, etc? Now have a look at the size of the castles. They're not that big. You have to scale the castle to the landscape (and really seriously consider how long it takes to build a big one). You've got space for a prestigious guest, and then like. 20 extras. At an absolute push, in some cases. Ok, bigger ones, yeah ram 100 in.

The king's got 200 men. He doesn't scale down to stay at a castle or fortified manor that fits 50max and already has 30 occupants. He just rocks up. People do not want him to, but he does anyway.

What used to happen in Medieval England was - there wasn't ever enough space. Literally none. There was also no system, it was King gets the best guest room, everyone who needs to be immediately close to him crashes on the floor, and if you're not fast enough and a bit further down the pecking order, you're marching into someone's house and saying "I'm staying here tonight" and sleeping downstairs with the goats. There are sources of courtiers bitterly complaining they had to sleep in barns and some "camping" (sleeping rough in the rain) in the forest because there was NO SPACE FOR THEM in the castle/fortified manor or in the surrounding villages because they came late due to their admin duties holding them up. And they don't have a tent. They have to literally sleep outside with their cloaks over them. Did they die of exposure? I mean, sometimes. Did they catch chills and die of those? Sure, yeah. Did it really piss them off? Every time.

(Peasant perspective: So many young* angry men with swords with untreated PTSD from all the war/general life trauma, chips on their shoulders and complexes about being younger sons (the spare not the heir) and desperate to prove themselves in a chivalric context of fighting/shagging prowess but they've been give a lot of admin duties to do, drinking a lot of alcohol every single day. Since being on the road they have had to cut down on the alcohol which hasn't improved their mood. And they're all coming to your village. And you can't feed or house them all.)

Then the king decides to leave.

It takes a good few hours to let everyone know because **nobody knows where anyone is**. You have to prep the supply wagons and the horses. And the king stands up after breakfast and says "I want to leave NOW"

Then he changes his mind.

Now you're leaving tomorrow afternoon.

If you're trying to picture this, with a lot of highly strung horses in an enclosed space being yelled at and dragged into position to cut down time, and people running to comb the villages and the woods for stragglers and leave messages for others coming through later, it's chaos. Absolute chaos.

Now imagine being put in charge of it.

So many plot points to play with there.

*For reference, because I've been watching Robin Hood adaptations lately, Richard 1 "the Lionheart" is depicted as an older man in all the films but he was only 42 when he died (b. 1157, d. 1199). The Third Crusade was 1189, when he was 32. He's played by Sean bloody Connery in Robin Hood: Prince of Thieves, when he actually was around the same age Richard Armitage was when he played Guy of Gisborne in the BBC Robin Hood series. (For context). Prince John was 33 in 1199 when he became king and only 23 when Richard went off to war. We're often largely talking about an intensely homosocial group of men in their 20s and 30s. ladsladslads

In the 14thC, one of the Earls of the March led his first campaign in the Hundred Years' War at the age of 17. ladsladsladsla-

[literaryfiction]

(via Addressing White Room Syndrome in Your Fiction)

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[characterbook]

CREATING BELIEVABLE CHARACTERS : Paula Puddephatt : Free Download, Borrow, and Streaming : Internet Archive

[retrobooks]

(via Creating Believable Characters)