marycatelli: (A Birthday)
Well, the slow part's over with.  Having given them a good reason not to go through all of the Beyond, I turned around and gave them a really good reason to go.

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marycatelli: (Strawberries)
How do you build an intricate fantasy world that holds up to intensive fan interrogation?

The first points I think of are -- what are the stories that let you have such a world?  Since, after all, you can make it as intricate as you like without the fans ever getting wind of it.
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Part of [livejournal.com profile] bittercon
marycatelli: (Rapunzel)
My heroine is useful.  She knows that a bloodstone is just the thing to deal with the fell magic they face.

Now they just have to get their hands on one.  Whereupon I reject the obvious, and my heroine also knows that none of the noble families about have one -- the virtues of stones in this land being reason enough for people to keep track of them.

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marycatelli: (A Birthday)
Ah, the muddle in the middle. . . I took up outlining to keep from petering out in the middle of the manuscript.  Not because it does not peter out in the middle of the outline, but because it is less frustrating when it does.

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marycatelli: (A Birthday)
Once upon a time, at an SF convention panel, a writer talked about the lines she put into her fantasy map to show the curvature of the world, and how a cartographer loved her for it because so many writers have maps like the world is flat.

Whereupon my muse, impish soul, whispered that what a silly goose he was, assuming that the world is not flat.

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marycatelli: (A Birthday)
Send the heroine brightly out into an enchanted world, filled with marvels and horrors, and let her wander. . . .and start to wonder yourself how to tie things up.

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marycatelli: (Default)
Being inspired by my third visit to see the Christmas Revels.  In which, of course, the story is an excuse to fit together songs, dances, and anything else they chose to throw in.  Not unlike, say, The Wizard of Oz, where Dorothy's travels are as much an excuse to move her about Oz and let Baum show off its regions as a way to get home (possibly more).  Or, more closely, Arabian Nights, or The Black Thief And The Knight Of The Glen.
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marycatelli: (Rapunzel)
There's no law saying that your world, replete with magic, has to actually let any character do any of it.  Your hero, your villain, your man-on-the-street, may have no more magic than can be snatched on the coattails as it sweeps by.  They may have no choice but to stand and stare and not benefit at all at their choice.

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marycatelli: (East of the Sun)
Fairy tales have one unquestionable advantage:  if you bring the prince tripping along in the last scenes, he can save the princess, and if the heroine arrives at the castle, she can find the prince engaged to another woman, and in neither case will you have readers grumbling about deus ex machina.

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Queste

Mar. 21st, 2012 10:18 pm
marycatelli: (Golden Hair)
Queste by Angie Sage

Book four of the Septimus Heap series.  Earlier ones reviewed here, here, and here.  Spoilers ahead for them, though not for Queste.

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marycatelli: (Rapunzel)
Writers discussing the differences between the hero's journey and the heroine's.

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marycatelli: (Default)
Sending characters on a journey has its problems -- the cast is major characters (the travelers) and bit parts (everyone else) -- though it does keep the setting fresh and provide a good excuse for running into new things.  Sometimes you can counteract the first effect by having them go about in circles.  (Not just one circle -- there and back again -- though in multiple circles they do not all have to return to the same point.)

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marycatelli: (Default)
Sometimes, while trying to plump up a story to out of the Unpublishable Void, you need to add an event.  In fact you probably have to, because stretching out the existing events to fill the required space often deforms them until the aesthetics of the story break down.
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marycatelli: (A Birthday)
J. R. R. Tolkien chose a certain quest for his novels.  The Hobbit sets out for the Lonely Mountain.  The Lord of the Rings sets out for the Crack of Doom.  And what both of these quests have in common is that the location is fixed.

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marycatelli: (Default)
The quest structure has its advantages -- would have to, to remain a perennial plot -- but it has its requirements too.
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marycatelli: (Default)
It's not enough, in a plot, for it keep on having conflict.

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marycatelli: (Default)
ah, the interrelations of world-building and plot. . . .

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marycatelli: (A Birthday)
But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid -- and quite possibly, not a man, so to speak.

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