Ask the Author: Thomas Locke
Answered Questions (5)
Thomas Locke
For the past several years I have grown increasingly concerned over the all-pervading darkness that nowadays forms the core of both character development and story within the fantasy and science fiction genres.
Last autumn, Publishers Weekly held a global forum on where science fiction and fantasy were headed in New York publishing. Several key elements were brought to light by a panel that included some of the largest publishers and editors in these fields. Here are the four points I found of crucial importance.
First, in this last publishing cycle—from January to June 2014—not one book has been released in either fantasy or science fiction that hearkens back to the classical heroic structure of by-gone days.
Second, both of these genres have become redefined by the electronic game industry, which is soon expected to top Hollywood films in terms of both profit and revenue.
Third, the key impact of e-games on both character and story theme was described as 'grey-scaling'. This means there is no longer room for either heroes or villains. This is important in e-games because the player is offered the chance to take on every role. None are deemed wrong, or bad. All are equally valid.
Fourth, the classical story structure has been deemed passé. This formed the basis for JRR Tolkein's Lord of the Rings, and for CS Lewis and the Narnia series, and has its roots in the ancient Greek heroic structure, many of which were told as fantasies.
Long before this conference confirmed my growing suspicions, I felt the question these NY publishers overlooked was, What has happened to the readers of classical fantasy and science fiction? Are they all satisfied with the direction that New York has chosen to take?
I do not disagree with the new direction as a concept. But I fundamentally dispute this mind-set of exclusively focusing on the new, the dark, and the hopeless.
Twenty months ago, I began working on a pair of new projects. They were so far removed from anything I had ever done before, I feared there would be no chance of finding a publisher. But the ideas ignited me to the point where I really needed to follow this creative passion.
The first was a fantasy, which follows the original Greek concept of ‘epic’. Nowadays the term has been redefined to basically mean nothing more than, long. Originally, an epic tale was one where the principal character sought to achieve a quest. The hero’s journey, both externally and his need to conquer inner demons, formed vital life-lessons for the audience.
My aim with this fantasy, EMISSARY, was to fashion an epic that would suit modern tastes. I threw out what has become the standard format for fantasy novels, with their long-winded descriptions and elaborate settings. Instead, I used the sentence structure and pacing of a mystery. It is tight, with what I hope will be seen as a smooth and seamless action-flow that leads to a satisfying crescendo.
The second of these projects was what is nowadays referred to as near-time sci-fi. Near-time sci-fi is a story that takes place in today’s world, but one where reality is drawn around the unseen corner. A perfect example is Jurassic Park, where dinosaur DNA is extracted from amber, inserted into frog embryos, and the monsters are returned to a modern earth setting. My near-time sci-fi is TRIAL RUN.
Both of these projects adhere to the original Greek structure of inherent value, what in Hollywood today is referred to as ‘leave-behind’.
In EMISSARY, the principal character rises from nothing to forge an alliance that has profound and far-reaching impact, simply by accepting the challenge of his own self-worth.
The theme of TRIAL RUN is that of hope through love, beyond time and earthly bonds, and finding strength where none exists on a logical basis. As you are no doubt aware, the themes themselves hearken back to the early classics.
Last autumn, Publishers Weekly held a global forum on where science fiction and fantasy were headed in New York publishing. Several key elements were brought to light by a panel that included some of the largest publishers and editors in these fields. Here are the four points I found of crucial importance.
First, in this last publishing cycle—from January to June 2014—not one book has been released in either fantasy or science fiction that hearkens back to the classical heroic structure of by-gone days.
Second, both of these genres have become redefined by the electronic game industry, which is soon expected to top Hollywood films in terms of both profit and revenue.
Third, the key impact of e-games on both character and story theme was described as 'grey-scaling'. This means there is no longer room for either heroes or villains. This is important in e-games because the player is offered the chance to take on every role. None are deemed wrong, or bad. All are equally valid.
Fourth, the classical story structure has been deemed passé. This formed the basis for JRR Tolkein's Lord of the Rings, and for CS Lewis and the Narnia series, and has its roots in the ancient Greek heroic structure, many of which were told as fantasies.
Long before this conference confirmed my growing suspicions, I felt the question these NY publishers overlooked was, What has happened to the readers of classical fantasy and science fiction? Are they all satisfied with the direction that New York has chosen to take?
I do not disagree with the new direction as a concept. But I fundamentally dispute this mind-set of exclusively focusing on the new, the dark, and the hopeless.
Twenty months ago, I began working on a pair of new projects. They were so far removed from anything I had ever done before, I feared there would be no chance of finding a publisher. But the ideas ignited me to the point where I really needed to follow this creative passion.
The first was a fantasy, which follows the original Greek concept of ‘epic’. Nowadays the term has been redefined to basically mean nothing more than, long. Originally, an epic tale was one where the principal character sought to achieve a quest. The hero’s journey, both externally and his need to conquer inner demons, formed vital life-lessons for the audience.
My aim with this fantasy, EMISSARY, was to fashion an epic that would suit modern tastes. I threw out what has become the standard format for fantasy novels, with their long-winded descriptions and elaborate settings. Instead, I used the sentence structure and pacing of a mystery. It is tight, with what I hope will be seen as a smooth and seamless action-flow that leads to a satisfying crescendo.
The second of these projects was what is nowadays referred to as near-time sci-fi. Near-time sci-fi is a story that takes place in today’s world, but one where reality is drawn around the unseen corner. A perfect example is Jurassic Park, where dinosaur DNA is extracted from amber, inserted into frog embryos, and the monsters are returned to a modern earth setting. My near-time sci-fi is TRIAL RUN.
Both of these projects adhere to the original Greek structure of inherent value, what in Hollywood today is referred to as ‘leave-behind’.
In EMISSARY, the principal character rises from nothing to forge an alliance that has profound and far-reaching impact, simply by accepting the challenge of his own self-worth.
The theme of TRIAL RUN is that of hope through love, beyond time and earthly bonds, and finding strength where none exists on a logical basis. As you are no doubt aware, the themes themselves hearken back to the early classics.
Thomas Locke
Too often we writers see the current work in the same light as our profession. But most real progress only comes through first drafts. In other words, to really tackle the issues that need growth and change, you must confront the empty page. Again and again. Redrafting can only take you so far, especially when you are so deeply attached to your current work.
Thomas Locke
For me, adventure sparks adventure. Doing one thing, no matter how different from what I have undertaken before, stimulates and challenges me to be ready for the next big opportunity, whatever that might be.
Currently my big adventure sports are cycling and surfing. I surf in the US but not in England, because the water is not so clean on the big-wave beaches. But the roads there are fabulous for cycling. I push to around 40 miles per day as my standard goal, three or four rides per week. All weathers. When I return to the US, the overall fitness and endurance has me so much more ready for surfing than normal gym work.
On the creative side, I have begun working on film projects four years ago. Most of these are for independent producers, who must have a script before they can raise money. Which means I am writing ‘on spec’ – I am paid only if the project moves forward. And so I am still writing my normal number of books to pay the bills! Despite the pressure and the effort, I LOVE this challenge, and feel that it is an unexpected gift at a new potential area of growth and creative endeavor.
Stretch your boundaries, most especially in the areas of your life that you cherish. Stay positive. Treat Success as a daily discipline, not something you win at the end of the race. By then it is too late. Losing is an event. Success is a state of mind.
Currently my big adventure sports are cycling and surfing. I surf in the US but not in England, because the water is not so clean on the big-wave beaches. But the roads there are fabulous for cycling. I push to around 40 miles per day as my standard goal, three or four rides per week. All weathers. When I return to the US, the overall fitness and endurance has me so much more ready for surfing than normal gym work.
On the creative side, I have begun working on film projects four years ago. Most of these are for independent producers, who must have a script before they can raise money. Which means I am writing ‘on spec’ – I am paid only if the project moves forward. And so I am still writing my normal number of books to pay the bills! Despite the pressure and the effort, I LOVE this challenge, and feel that it is an unexpected gift at a new potential area of growth and creative endeavor.
Stretch your boundaries, most especially in the areas of your life that you cherish. Stay positive. Treat Success as a daily discipline, not something you win at the end of the race. By then it is too late. Losing is an event. Success is a state of mind.
Thomas Locke
The most important advice I can possibly offer a Christian author is this:
Attend one of the major Christian writers’ conferences.
Make sure the conference you attend is large enough and so well-established that several major publishers and agents will attend.
This is a crucial component of a successful conference. Do not be swayed by one that is quicker, closer, or cheaper. You need to have the connection to the commercial world, and see your work through the eyes of those people who have the power to offer you a contract.
Christian vs. General Market Conferences
There are a number of significant differences between one of these Christian conferences and the mainstream counterparts. Most of these began as church-based ministries, and ALL of them see their work as a service to our Lord. The same is true for the teachers. We come in order to serve God and further the Kingdom’s work.
Structure of a Writers’ Conference
The days are basically split in two. In the mornings are ‘major tracks’, ongoing classes designed to cover the basic nuts and bolts of your chosen direction—fiction, non-fiction, song and poetry, magazine articles and greeting cards, and screenwriting. The afternoons are focused upon the commercial side of the writing world—meetings with agents and publishers, classes on pitching and presentations and marketing, and so forth.
Advantages to Attending
Two other advantages come from attending such a conference. The first is, you have the opportunity to discuss your work with other authors, and know what it means to translate a private dream into a commercial reality.
The second is, you are granted a set of realistic expectations and tools for change. Both of these are vital components to growth and success.
Attend one of the major Christian writers’ conferences.
Make sure the conference you attend is large enough and so well-established that several major publishers and agents will attend.
This is a crucial component of a successful conference. Do not be swayed by one that is quicker, closer, or cheaper. You need to have the connection to the commercial world, and see your work through the eyes of those people who have the power to offer you a contract.
Christian vs. General Market Conferences
There are a number of significant differences between one of these Christian conferences and the mainstream counterparts. Most of these began as church-based ministries, and ALL of them see their work as a service to our Lord. The same is true for the teachers. We come in order to serve God and further the Kingdom’s work.
Structure of a Writers’ Conference
The days are basically split in two. In the mornings are ‘major tracks’, ongoing classes designed to cover the basic nuts and bolts of your chosen direction—fiction, non-fiction, song and poetry, magazine articles and greeting cards, and screenwriting. The afternoons are focused upon the commercial side of the writing world—meetings with agents and publishers, classes on pitching and presentations and marketing, and so forth.
Advantages to Attending
Two other advantages come from attending such a conference. The first is, you have the opportunity to discuss your work with other authors, and know what it means to translate a private dream into a commercial reality.
The second is, you are granted a set of realistic expectations and tools for change. Both of these are vital components to growth and success.
Thomas Locke
To my mind, the method of overcoming writer’s block is less important than the guidelines. Whatever it is you use, it must achieve three goals to be successful.
First, it must utterly separate you from your current work.
Second, it must be creatively energizing.
And third, it must be singularly important to you and you alone.
Too often, the second factor is overlooked, as most methods are creatively destructive. For me, there needs to be a measure of healthy indulgence. Surfing is first on the list, if there are waves and if I am in reach of the sea. Road cycling, particularly on new roads where there is a hint of adventure, also works.
One question that needs to be honestly addressed is the issue of solitude. To completely separate yourself from your work, do you also need to isolate yourself from others? If so, be honest. For the first five years of my published life, my greatest block-overcomer was taking a silent retreat at a monastery.
First, it must utterly separate you from your current work.
Second, it must be creatively energizing.
And third, it must be singularly important to you and you alone.
Too often, the second factor is overlooked, as most methods are creatively destructive. For me, there needs to be a measure of healthy indulgence. Surfing is first on the list, if there are waves and if I am in reach of the sea. Road cycling, particularly on new roads where there is a hint of adventure, also works.
One question that needs to be honestly addressed is the issue of solitude. To completely separate yourself from your work, do you also need to isolate yourself from others? If so, be honest. For the first five years of my published life, my greatest block-overcomer was taking a silent retreat at a monastery.
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