Stephen Hagelin's Blog

August 23, 2018

WorldCon 76

I don’t know exactly how many people attended WorldCon this year, in San Jose, but it certainly felt like a lot. I have to say, that is I feel an irresistible compulsion to say, that I was very impressed with the organizers and staff who ran it. Did you know that it is the largest volunteer-run convention in the World? I didn’t, but every time I met with one of the people who put in their time and effort to keep this 76-year running tradition going, I was impressed. So first, I want to thank you all for your work; I was grateful to be a part of the Dealer’s room, and had a wonderful experience.

Perhaps you think I’m gushing, but you’d be surprised how much more I can gush... give me time, and I’ll be like the river in “The Two Towers” When the Ents broke the dam. After all, I met so many interesting people, and had so many great conversations, and really just felt included in the Writing Community. Not to mention, I was able to connect with some of my favorite or most influential authors.

I sold a few more books than usual, but it wasn’t enough to cover the cost of attendance... but I received so much more in return that isn’t monetary that I couldn’t have cared if I hadn’t made a dime. I was with my Publishing Company at our table (Varida P&R), and had just as much fun selling my associates’ books as I did my own, and it was far more satisfying being able to pair people with something I knew they would like rather than attempting to coerce them into buying my High Fantasy series.

That aside, one of my highlights was that we hosted a small Wine Tasting Party, featuring Washington wines that I had brought with me from some of my favorite wineries in Woodinville. It surprised me that most of the people I asked were excited to be on board. Aspenwood, Distefano, and Patterson Cellars, all donated wine for the event and it went off smashingly (in a cool, composed, and sophisticated manner of course.) In fact, I even sold one of my books because I commented that wine-tasting featured strongly in my books because I am a devotee to the beverage, and because I discussed at length the history and rediscovery of the Carmenere variety in recent times.
Plus, the people at the AC Mariott Hotel were very nice, and supportive, letting us host our wine-tasting party in the courtyard, and lending me a bottle-opener as well. I had fun talking mixology with the bartenders too, they know what they’re about. The walk to the Convention Center was no joke, but at least pedometer was proud of me.

All things considered, I am eager to attend next year in Dublin!

And who knows, maybe I’ll try throwing some more wine-tasting and author-reading parties in the future. After all, I am working on my third novel, “The Lich’s Blade” at a good clip, and hope to publish before the end of the year. Maybe I’ll pair my release with a Red Mountain Cab. Or one of those Carmeneres?
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Published on August 23, 2018 18:53 Tags: conventions, worldcon-76, writer-s-thoughts

July 14, 2018

On Writing Something New

I think I’ll take a break from writing on Worldbuilding again this week, and discuss writing processes, structures, and habits. So many writers I come across have no structure in their own approach to writing, and this often shows in their lack of structure in what they write. I think it is unfortunate, since even though all the commentators on writing advocate discipline and practice, and purposefulness in writing—it is a factor that is largely ignored by novice and journeyman writers.

Even though I have published two books now, I still see so many areas that need improvement in my writing, my habits in writing, and the way I plan out my stories. I am still undisciplined, still a journeyman, struggling as it were, to break out of the cacoon to reach my potential in writing. In writing groups and co-ops, very often there is a degree of intellectual and artistic laziness as authors become stuck in one idea for a story they never finish, or in one type of perspective for their narrative: becoming brittle, stagnant, stymied.

I try to encourage my friends to keep writing, to experiment with 1st, or 3rd person perspectives, to cut out characters, or change the stakes, or do anything to invigorate a project that has been worked to death like a bread dough over-kneaded. But sadly, most will not be moved. The difference between always writing, and never finishing, in my experience so far, is that of fixation versus flexibility; exercise versus exhilaration.

Rote memorization in education is meaningless, so that information is severed from its application, or relevance; likewise fixation on a certain vision or project kills the life of the book that was at first fresh and new, exciting. These things need life, that is what made the project worth writing in the first place. Good writing is alive, it is fiction that takes on life, it is in a sense the only real form of artificial intelligence.

I digress, my purpose in this post is not to write a diatribe against fixation and stagnation, but to provide if I can a waypoint by which my fellow writers can escape the snow-blind they are in and revive their projects, or start anew. I myself have that pet series from my childhood that one day I will write, but after ten years of working on the same series and never finishing, I realized that I was up against a wall, and there was no way I would ever break through it. I needed something new, to fly over that wall. That is the reason I latched onto an idea I was not attached to, a story about faeries who laughed, and fought, and bled, and lied—who lived in a way my broken story never did. When I finished it, I surpassed my broken process, and could revise or rewrite, so that in a total of two years, I had completed my first publishable novel.

Sometimes, it is good to take a break from that pet idea, take your tired imagination for a walk, let it stretch its stiffened legs, and back, come up with something new. Then, all of a sudden, you have fresh life, your writing is vivid, and real again. I have said before that good writing needs to be effective, eloquent, and affective. It is possible to have the first two in a dead project, but it is futile to reach for the third in such a state of numbness.

Are you stuck, dear writer? Don’t stop writing, I’m not telling you that. Write something new, I don’t care if it is a short story, or a series, or a screenplay. By the end of the endeavor, you will be refreshed.

This even works for an ongoing project, I’ve found, where one part of the story slows, try writing something else, a side-story, an interlude, a change of POV—it will help, I’m sure, even if you don’t keep what you write in the end, it will recalibrate your mind.
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Published on July 14, 2018 13:36 Tags: fresh-writing, next-project, writer-s-block, writing-thoughts

July 6, 2018

Independance Writer's Day

Putting aside some discussions I've had with coworkers about the merits of placing the 4th of July on a weekend, (like Easter or Thanksgiving... sort of,) I realized that there are a few wonderful things about being an Indie Author.

Granted, like anyone else I'm sure, if I were approached by a major publishing house I'd probably jump on the chance to get access to their publicity--but there is one major thing I love about being indie. The Freedom. Not in the banner-waving, bald-eagled sort of way, but in the ability to self-determinate and produce stories with or without whatever pressures I would be put under to include or exclude types of characters, or tropes, or scenes.

I'm probably not alone in my distaste for sex-scenes in books, as for one thing, I feel really awkward, and for another, it kicks me out of my suspension of disbelief since in the background I know it provides little to no benefit to the story--only publicity. A gimmick. So, as an indie author, I'm more likely to go with a North-by-Northwest approach to hint at such a thing, rather than crudely writing it in. If not that, I'd rather leave it out altogether.

Another benefit of being an indie author is the fact that I am not bound by the same rigid plotting schemes that are common amongst most writers. Currently I am using a chiastic structure to outline my books, (a sort of inter-parallelism structure built around a pivot point. Could be a-b-a' or even simply a-a', with as many mirroring, corresponding factors as desired.) I am free from Three Act Structure, and The Hero's Journey, and so on--though I know they are tried and true narrative formats--they have the life and flavor chewed out of them like a jerky that's been passed around the table too many times.

There are many ways to build a story, and if by accident it ends up looking similar to an existing structure, at least it has the merit of not being designed to be so; therefore having the quality of being natural rather than artificial or forced.
Some have said (was it Aristotle? I forgot.) that over-reliance on parallels (or two-beat rhythms in rhetoric) draws attention to its own artifice, with is not pleasing to the reader or the listener. It seems to me, that some structures have been so overdone, everyone already knows that the wife will die, and the husband will go on a rampage, for example, or that the close friend is going to betray the protagonist.

An indie author has the freedom to avoid using the same stereotypical structures, allowing them to avoid in turn, the same predictability. By avoiding predictability, an author gains memorability, novelty, and hopefully nostalgia.

Don't be too worried if you're an indie author, hone your skills, fearlessly take the stairs to success, not the escalator. It's a bit more work, but it's better for you and your writing. Of course, I agree having good editors is a must, but there are plenty of freelance editors out there, and talented authors who edit as well. Here on the frontier of writing, where we are free to fly or fall, by the merit of our own ideas, not by the meddling or inception of others, here is where the next generation of writers come into their own.

Are you experimenting with structure, narrator, whatever? You are an inventor, all you have to do is cross that Delaware, and make it work. America's Democracy was the Great Experiment, according to Alexis de Tocqueville, a government, a land where people were (ideally) respected and successful on their own merits and inherent virtue, rather than bloodlines, or lands, or wealth.

It's not easy being a writer, it's harder being an independent writer; it's glorious when each book is finished and put out there--a testament to your sweat, tennis-elbow, trashed thesaurus, sleepless nights... and it's all yours. Free from the ideas everyone else had, from what they wanted to make of your book. So, if you are considering stepping out as an indie-author, tighten your belt, grit your teeth, and feel free to shout when your book is in your hands; unblemished, unique, fresh.

Happy Independence Day!
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Published on July 06, 2018 11:55 Tags: independance-day, indie-author, plot, structure, writing-thoughts

April 4, 2018

Worldbuilding: Mid-Series

This is a bit of a tangent from my usual trend of blog-posts, but at the moment it is acutely appropriate. I am currently working on my third novel in the Commission Series, "The Lich's Blade", and I am realizing that even if I understand the world-built scope of the primary region in which the story takes place, there are many other actors and forces at play that I need to guide (or more likely follow) in order to make the story work.

Some of my previous advice, such as focusing on one thing and "knowing" that well, I may have stuck to too closely, as now I find, mid-project, I have a lot more work to do. There are pros and cons to this situation.

I have all the previous work, and character biographies, from the first two books to inform my forward creative process.
I have a clear outline of the story, which tells me what I need to nail down.
And, finally, I am reinvigorated with that first-book sense of excitement for Worldbuilding.

My freedom to create new players, or powers, or magic, or technologies, etc, is limited based on the existing world, and what the characters "know" about it.
I have a deadline for this summer to finish the book.
And, I have to introduce these new things in the narrative naturally, so that it doesn't provide obvious "flags" to the readers.

However, like I said before, my excitement for worldbuilding has returned. Getting to throw in new characters, cameos, and hints at some of the shadowy-politics and magics, gives me the ability to keep the reader learning and exploring with that sense of the "New World" which is one key to creating that all-important sense of nostalgia.

Suffice to say, worldbuilding mid-series is challenging, but just as fun and exciting as at the beginning of the project. Don't get discouraged when there're edges of the map that need filling, fill them as you go, as a fellow explorer, and your excitement for the project will stay strong.

And, if you have even a rough guide, or outline for your whole series, as far as how many books it will be and how the narrative flows through it, you will have a clearer picture of what you need to worldbuild in order to set up the subsequent books and make the writing easier as you go.
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Published on April 04, 2018 10:52 Tags: 3rd-book, mid-project, worldbuilding

January 20, 2018

New Year, New Book

I am already looking fondly back on my experience writing my second book, and have found my beloved nostalgia growing. With each finished project I can more readily and arrogantly refer to myself as an author, and I have more things to remember and recall with joy in creation.

My second book is to released on January 26th, and I am going to be going to the Tacoma Home and Garden show to help with the Northwest Independent Writer's Association's table there, selling mine and other indie authors' books. This is exciting because far from being a cutthroat field, I have found a warm camaraderie with my fellow indie authors, and such a welcome. I look forward to supporting them and growing as a writer and member of the community.

Now, where was I? My second book: "The Viper's Chase," Book 2 of the Commission series (and that does not mean that anyone commissioned me to write it, but is related to an organization in the series.) In this story, the main duo from "The Venomsword" are caught up in a twisting and complicated race to catch a thief, as they compete against their fellow bounty hunters, and battle against their consciences, they are faced with a difficult choice--I hope you enjoy reading it as much as I did writing it; but not too much because the best is yet to come.

That map of Fassen, the city, took me over three-hundred hours to draw and edit, but I've learned a great deal about mapping in the process, and so I have already begun working on (at last) a map of Frorin, for the third book which I am currently writing (in Scrivener, thank God) called "The Lich's Blade."

I will continue to blog throughout the year, 2018, and I hope that as I learn and write, we can do so together.
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Published on January 20, 2018 10:55 Tags: fairies, fantasy, map, second-book, writing-thoughts

December 31, 2017

A Year in Reverse

As much as I would like to continue in my Worldbuilding series of blog-posts, today is a special day, deserving of a special commentary. It is New Year's Eve, and everyone around the world is preparing for the New Year--dreaming up what they want to do better.

But, as I've said before, I am all about nostalgia, and so before I tromp into 2018's unmowed grass, I would prefer to linger a bit in what I treasured or survived in 2017. I spent the majority of the year in York, England, free from so many of the troubles that my countrymen and women were dealing with, as I guiltily enjoyed my cups of tea and walks on the Norman walls, while everyone else back home was rocked by one controversy or calamity after another... but I was home in the summer, with wildfires surrounding us, enjoying the almost perfect eclipse, and savoring my first year of participation in the Chateau St. Michelle wine club.

During this past year, I poured all my spare time and energy into writing and editing, and formatting, and mapping for my second novel--which I'd hoped would be released by now, but it was a hectic year even for me. Still, I will be excited to release my sequel for "The Venomsword," "The Viper's Chase" this January, which will be the proof of my labor. I don't know why I insist on making maps for my books, probably because of Tolkien's hold on my childhood imagination (which is still present and strong), but after a few hundred hours of work, I have mapped out one city.

Now, 2018 has a lot to look forward to already, I will be free to go to more conventions this year, promoting my January publication, and, keep me busy writing the third novel "The Lich's Blade" Which I'm wary of projecting its publication date yet, since once more I'll need to make a map. Resolutions don't have much of an appeal for me, I'd rather say that I'd like to accomplish such and such or to go to such and such and place, and be satisfied with as far as I get, because I would sooner grow slowly, than be ruined by ambition. But still, if there was one thing I hope to get out of 2018, it would be a finished manuscript for my third book.

Hmm... yes, I think perhaps I'll do a series of short stories on this blog, once a month, from my Commission series, but not necessarily related to my main story; just little snapshots of the world, the history, and the magic.

Well then, let's pop the cork on this year, and--savoring those good things from 2017--anticipate the mysterious things that await us in 2018.

-Stephen Hagelin
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Published on December 31, 2017 12:17 Tags: new-year-s, personal-blog

November 18, 2017

Worldbuilding: Foundations of the World

This is probably my first blog post on the nitty-gritty aspects of building your world. Depending on your idea, that may place it in an idealized part of our own reality, or in the future or the past, or a mysterious “other” world that you have to build from the ground up.

Any world, no matter how foreign or mysterious, however, will only be relatable or comprehensible to us if there are elements of familiarity. There have to be things that we as readers can hold onto in order to explore a new world—sometimes that comes in the form of familiar animals in a fantasy setting, or shared cultural elements such as birthday celebrations—in one form or another.

I propose that as you roll up your sleeves, you have prepared your foundation stones of familiar elements to incorporate, as well as your flashy new seeds to plant so that the two grow together into a familiar-yet-foreign world that is a mystery and a delight to the reader. There are a few ways to do this, but some of the most noticeable are: Geographical elements, cultural practices, culinary marvels, politics, economics, religion, and interpersonal relationships (i.e. romance and friendship).

These are things that we recognize even when reading about mice and badgers going out to war (as in the Redwall series by Brian Jacques) or looking at the change in value of silver coins in such wonderful examples as Spice and Wolf, or the ways in which magic shapes borders in the Fullmetal Alchemist story.

At least in fantasy, I see a lot of examples of careful worldbuilding for believable economies, or the politics of magic in series such as L.E. Modesitte Jr.’s Recluse Saga, or Brandon Sanderson’s Cosmere novels. But even using “contemporary” fiction, economical elements and the proper use of numbers, as in Dostoyvsky’s Crime and Punishment make 19th century Russia a living, breathing place.

As such, it is important to consider the necessaries of living and trading in the world you are building. How do they provide for food and water, what commodities do your peoples have? Is there any incentive for them to cross great distances to trade? Also, provide multiple reasons for interaction between peoples, political, economical, religious—because people are complicated individually, and peoples even more so.

Design your nations so they are distinct, but provide ways for them to relate to each other, just as you would make them relatable to the reader. And as you color in these details, allow them the freedom to grow in unexpected or unintended ways. The more organically it grows, the more your reader will explore the world through the character’s eyes, and walk away with that all-important sense of nostalgia.

This was a short, first-installment on the practicalities of worldbuilding, but I hope you will find my next blog post of use as well, as I return to discuss this same topic in more detail.
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Published on November 18, 2017 05:30 Tags: cultures, economics, politics, worldbuilding, writing

November 13, 2017

Worldbuilding: Polishing and Rough-cutting

At last, I will write a little bit about practical ways and tests to improve and polish ideas (which are hopefully now chosen from a culled list.)

Now, let's say you've gathered your best ideas for your story, or character, and you've decided that they are well rounded according to the Cartesian-coordinate grid of eloquence, effectiveness, and affectiveness--you might be wondering now what else can be done?

Thankfully, there is little to remove, in fact, the purpose now going forward is to add a little water, and light, and fertilizer, and watch how it grows: taking on more or less a life of its own. This is not a new concept to be sure, for example, Mark Twain complained of Huckleberry Finn that he often did things that he wouldn't have predicted or expected and got away with probably too much.

I will use my own example of fleshing out; I am writing an adventure series about fairies for a more college-aged audience. The desire was initially to "make fairies cool" which at the time I thought hadn't been done yet... but I've since been disabused of that concept.

In order to make them "cool" I immediately thought about a few things that I or my neighbors in Seattle thought were cool, so, I combined elements of martial arts, wine-tasting/culture, and witty-commentary or banter. By drawing inspiration from things I loved, I hoped to make it an interesting and vibrant world and story. With such premises included, populating the world wasn't as difficult as populating this one, because the sorts of people I had to create were slightly less varied.
(At least at first.)

The main cast acts as a foil for the world, and the world as the canvas for them--so it is important to make them believable in their own setting. This meant that my martial-artist, with a quirky sense of humor, from the desert clans had a different educational focus and background, and field of knowledge than other characters. He could be very competent at some things, like fighting, or making puns, but be unaware of cultural niceties, or aspects of manners.

I decided that his ignorance was no excuse for crassness, or rudeness, as his training involved discipline and respect, and so his mistakes in public settings are more comical or awkward, because he might try to do what he imagines is proper--but he fails more often than not. Still I didn't want a country bumpkin for a main character, just someone who was well-meaning, but not fully aware of all the necessaries.

So, to repeat, your main idea, whether it is the world or character, or thematic concept, should determine the shape of what you add to it. If what you add does not naturally or logically relate to your basis, then it will not be satisfying. Remember, these are seeds, and they sprout and grow organically, just like good ideas should. If you are forcing it, it will not feel "right." This may mean that you have to sacrifice one of your darlings, or that you need a more accurate "Seed" but being willing to do your ground work right will make a much better book, or series, because it will be well planted in a rich enough soil to grow into two, three, or who knows how many books!

Next time I may continue on this theme as well, as I tackle not character, but geographical, arcane, or other themes of the world. After all, a rich world with a rich history can only create a fertile field for relatable characters and compelling stories.
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Published on November 13, 2017 04:32 Tags: character, polishing-ideas, worldbuilding

November 4, 2017

Worldbuilding: Building-Blocks of Nostalgia

Oh boy, first it’s wheat, and now it’s blocks? Bear with me though, as it is my hope to continue where I left off in my last post on Worldbuilding Ideas, and how to get, choose, use, and maximize your ideas. This pertains to characters, plots, or even worlds.

I referred to my writing philosophy last time, as focusing on the importance of eloquence, effectiveness, and affectiveness, and how those three areas combine to make good writing, or if any one of them is lacking, really poor writing.

As for how to bring those three elements into polishing your chosen writing idea, from a rough seed-husk into something you can cook up into a nice bowl of rice, or a loaf of bread, or if you’re really fancy, some soft pretzels, I will do my best to explain the foundations for my process. I am sure that each of you have your own methods for accomplishing these things, but I hope that this is useful for you as well.

You can compare these criterion to the C’s of diamond classification, as they describe the various aspects that make it appealing, or even valuable.

Eloquence appeals to the aesthetic, the sense of beauty, or artistic taste—and there are as many senses of aesthetic as there are people—but I would point out that making a work of art does require a cohesive sense of taste. Without that, the mind of the reader might balk at the work, and simply reject it out of a severe sense of dislike no matter how important the message is, or how believable and “real” it is. People remember the writer’s artistic, or poetic, style and this helps to build the invaluable sense of nostalgia for the book.

Effectiveness is appealing in that it makes reading fluid, easy, natural, and doesn’t kick the reader out with things like sloppy typos—such as: misspelling the main-character’s name, words, etc. This also comes through in regular writing—such as: using the same word too frequently too close together, poor paragraphing, too much description (slowing down time) in a high-action scene. This distracts the reader from the story, and that is the last thing we want—the object is to suck them into it so that they are fully immersed. Therefore, the purpose of effectiveness is to facilitate the reader’s immersion. This makes it easier for the reader to develop that sense of nostalgia for the book.

Affectiveness describes the ability of the world, the characters, the narrative, and the events to elicit a powerful emotional response in the reader. This adds depth to the story, and realism, since we are very relational, emotional, and I think a lot deeper than we let on in public, so people appreciate that depth of character, and the depths of the story when there is a great deal at stake. This is something you can test on your own, first, when you check to see if you enjoy reading your book as you write or read it, or, in those pivotal scenes, if it makes you tear up, or makes you laugh... if it does or performs something in or to you.
I would advise reading J. L. Austin’s book, “How to Do Things with Words” as it describes how speech-acts perform something in and through the speaker, on the directed listener, and how it affects those who overhear.
Writing is very similar to speaking, except that it is a lot more precise, as we have the time to formulate our “utterance” with a great deal more care and clarity. And just as every action accomplishes, or “does” something, and every utterance “does” something to the addressee, we as readers want to be moved or affected in some way by the writer’s letter to us.
In the end it may be more the character, taking on a life of their own, influencing the reader’s heart, bringing them to tears when Oliver is finally safe and loved, or aching inside sympathetically when Stephen Dedalus decides to wage his war against the world through his silence, exile, and cunning.
This third element is probably the most difficult to master, as it requires a compassionate heart, a sympathetic mind, experience in life, and of overcoming hardship—but fortunately, though it is not quite as good as the real world, we can grow in this area by experiencing all these things vicariously through books that were written by people who have.
This affectiveness is the strongest point for building that sense of nostalgia that makes people reread a book, review a book, or go on to read your next publication.

Now, I am sorry that I haven’t addressed how to polish your idea according to these themes, but I promise this time, I will focus on the application of these things in my next blog post.
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Published on November 04, 2017 07:30

October 27, 2017

Worldbuilding: Wheat and Chaff

Last time, I wrote on the topic of worldbuilding ideas for what to build your book’s foundation on—or rather, how to get one of those First Seeds. But it occurs to me that after collecting a few of those seeds, there is another vital step before you roll up your sleeves and start planting.

It is of the utmost importance to sort through these ideas to tell the difference between the good ones and the bad, which is why I am going to write about how to tell between your wheat and your chaff. After all, no author wants to waste time on an unworthy idea.

First I will define what I mean by wheat: those First Seeds that will grow into something satisfying and nourishing for the reader. I believe it is not enough to entertain for a moment, but to leave a lasting impact, even a nostalgia, that either brings the reader back to review the book, or to continue on in the series.

Second I will define what I mean by the chaff: namely those story ideas that do not leave a lasting impression, or worse, toss the reader out by failing to maintain the suspension of disbelief. (This is vital for a fantasy story in particular) I also count it equally a failure if the reader doesn’t care about a sequel or subsequent novels in a series.

I hope that you agree about the importance of satisfying the reader with the story, but I’d like to make the argument that doing so requires a satisfying world which surprises, intrigues, excites, and inspires the reader with that all-important sense of nostalgia that will push them forward or bring them back. It is a symbiotic relationship as well, since, by bringing them back, the author is rewarded, and that is based on the reader enjoying or even being encouraged or inspired by the books.

Chaff novels do not inspire, often they leave the reader feeling like they wasted their time, or worse, train the reader in mediocrity and to be satisfied with nothing. There is nothing so tragic in my mind (with respect to reading and books) as the futility people can be subjected to and then accustomed to, so that the more worthwhile and meaningful stories are regarded with disdain. If you will forgive my judgements, this includes books that arguably have nothing to inspire, or teach—such as the shades of gray series, or empty works like “A Wrinkle in Time.”

I realize that I write fantasy adventure stories, without a message, without an argument or apologetic purpose, but I believe that the depth of the writer is reflected in the works they produce. While I may not be writing gritty, realistic fiction in the current world, I try my best to write realism into the magic of my worlds, whether that is in the way they fight, the politics, the economics, or the mistakes that they make.

So, after all that, you’re probably wondering what advice I could offer on deciding if your ideas are of the wheat variety or not; here are the few points I consider:
First: Does this inspire or excite me to write?
Second: Does this generate real tension and issues for the world or characters to wrestle with?
Third: Do the people whose opinion we trust like the idea?
Fourth: Are the people involved in the world or story believable? Or are they playing to our fantasies? (i.e. wishful thinking, or baseness of thought; like Heinlein’s weird relationships.)
Fifth: The Inexpressible Drawing Factor: Does this idea have a thematic or characteristic that you feel could inspire that sense of nostalgia of place or time or emotion?

Remember: the elementals of good writing are in Effect, Eloquence, and finally and most importantly Affect.

I hope this helps, but on the topic of Worldbuilding I will return to continue with how to use those three areas of good writing to grow and water your chosen First Seed.

Till next time:
-Stephen Hagelin
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Published on October 27, 2017 04:35