Cup of Dcaf: Getting Close to Your Characters

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“Write what you know”, right? It’s one of the most common writing tips, something that writers of all ages have no doubt heard many times. It’s pretty sound advice on the surface. After all, it’s tough to write about, say, a location in Italy if you’ve never been there or studied it. Trying to do something along those lines is begging for the writing to feel flat.

On the other hand, we need to write about things we don’t know—namely, characters. I’ve found that it’s very common for inexperienced (often young) writers to write characters who are very similar to them. It’s easy to do, because you know yourself better than you know anyone else. But that doesn’t make for very interesting stories. Things will get very stale, very quickly when all of your protagonists are the same person.

So the question remains: how do you write a variety of characters? Continue reading

Cup of Dcaf: Writing a Second-World Fantasy Series

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The fantasy genre is famous for long series, and many of the highest-profile authors have received their share of criticism for how long the series went. Whether it was Robert Jordan when The Wheel of Time bogged down in the late middle of the series, or George R. R. Martin for the Meereenese Knot, or whoever the author du jour happens to be, the fact is that lots of fantasy series slow down at points. Why this happens is a subject of debate, where many people accuse authors of moneygrubbing and others think the writers just wrote themselves into corners, there is a certain solidarity that I have discovered as I move into writing more seriously.

When you create a world, and put hours and hours and days and days into building it, fleshing it out, making it rich, you become proud of it. Continue reading

Cup of Dcaf: Thoughts and Internal Dialogue

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Anyone who reads a lot of fiction will be familiar with italicized font, and what it signifies: internal dialogue or thoughts. This is a very common tool used in first- or third-person close points of view, and it helps bring the reader more intimately into touch with the character’s identity and personality. After all, people can very easily say one thing while thinking another.

This, when used judiciously, can be very effective in making your stories deeper, your characters more fleshed-out. When I think about the ways that Robert Jordan used thoughts to demonstrate Mat Cauthon’s recalcitrance despite his overt heroism, or how Scott Lynch cleverly hints at plot details in Locke’s thoughts while not quite giving it away, it’s very clear that this can be an incredibly effective tool for enriching a story. Continue reading

Cup of Dcaf: Flashbacks

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Flashbacks are a troubling and wonderful thing. They can provide essential insight into a character’s personality or motivations. They can develop dramatic tension by making the reader privy to events in that past the character isn’t aware of. They can set up thematic fulfillment with scene changes.

They can also be confusing, or a crutch for weak characterization or plotting. They can mess up the flow of a story, throw off pacing, and stick out like a sore thumb.

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Cup of Dcaf: Themes and Subtlety in Sci-Fi/Fantasy

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This has been on my mind a lot lately. It’s pretty much par for the course that good SFF has more than just a basic story going on. The ability to construct new worlds, cultures, and environments gives authors an unparalleled ability to comment on things in our own world in a more nuanced, and if done well, more effective manner. This can cover things like racial topics, economic issues, religion, military strategy and policy…you name it. If it’s an issue in our world, it’s probably been written about.

But when you break it down, some books (and TV shows or movies) handle this much better than others. Continue reading