Thematic Concepts in Fantasy Fiction

Sad Little GirlFantasy for children and teens, especially now with the fear of being shot at school, is especially important during heart rendering and traumatic events in a child’s life. Fantasy and fairy tales do many things emotionally and psychologically to help the child to understand the world in a broader sense. Fantasy teaches and the individual learns about the world and life itself.

An example of a thematic concept or theme, as depicted in the fictional novel: Delphi Altair, Strange Beginnings, is presented when twelve-year-old Megan Donnelly’s mother has recently passed way. Megan, devastated by the loss of her mother, receives a mysterious package to be opened on her thirteen’s birthday. Inside the package is a very old leather-bound journal with mysterious symbols on the cover.

Megan begins to read the secret journal about a young girl named Delphi Altair and discovers that Delphi has suffered the loss of both of her parents. Megan can now relate emotionally, and with empathy, to Delphi’s grief and a bond of understanding is created.  However, before you begin to read the secret journal, writes the author of the secret journal, you must put aside the world as you see it because things are not at all, what they appear to be.  This statement suggests that although death seems final, a belief that life and death are not simple concepts, that there is, perhaps, and a reason to believe that “all is not lost”.

When a child is suffering a traumatic loss, such as the loss of a much-loved parent, the need to remain close to the lost loved one is paramount to healthy healing. By providing a tangible source of comfort, such as a fictional companion to create empathy and understanding, her mother keeps her child engaged in the present as well as the future in a way that will help to heal her child’s heart.

 

Quotes: Be The Change We Seek!

Our young people have more common sense & courage then 40% of adults in America. 

 

 

Politicians that are bought and paid for, are Puppets of the Greedy!

 

 

We can’t pray away gun massacres, but we can change our laws to stop them.  

 

Three Secrets to Great Storytelling!

Whispering

 

 

 

3 SECRETS TO GREAT STORYTELLING as presented on Writer’s Digest. I found this article by Steven James helpful in forming the structure of scenes.  (this is a re-blogging from 2014 but I thought it deserved a revival now, because it is simple, straightforward, and to the point.)

As a novelist and writing instructor, I’ve noticed that three of the most vital aspects of story craft are left out of many writing books and workshops. Even bestselling novelists stumble over them – Steven James But they’re not difficult to grasp. In fact, they’re easy.And if you master these simple principles for shaping great stories, your writing will be transformed forever. Honest. Here’s how to write a story.

Secret #1: 
CAUSE AND EFFECT ARE KING.

Everything in a story must be caused by the action or event that precedes it.  As a fiction writer, you want your reader to always be emotionally present in the story. But when readers are forced to guess why something happened (or didn’t happen), even for just a split second, it causes them to intellectually disengage and distances them from the story. Rather than remaining present alongside the characters, they’ll begin to analyze or question the progression of the plot. And you definitely don’t want that. When a reader tells you that he couldn’t put a book down, often it’s because everything in the story followed logically. Stories that move forward naturally, cause to effect, keep the reader engrossed and flipping pages. If you fail to do this, it can confuse readers, kill the pace and telegraph your weaknesses as a writer.

Secret #2: 
IF IT’S NOT BELIEVABLE, IT DOESN’T BELONG.  

The narrative world is also shattered when an action, even if it’s impossible, becomes unbelievable. In writing circles it’s common to speak about the suspension of disbelief, but that phrase bothers me because it seems to imply that the reader approaches the story wanting to disbelieve and that she needs to somehow set that attitude aside in order to engage with the story. But precisely the opposite is true. Readers approach stories wanting to believe them. Readers have both the intention and desire to enter a story in which everything that happens, within the narrative world that governs that story, is believable. As writers, then, our goal isn’t to convince the reader to suspend her disbelief, but rather to give her what she wants by continually sustaining her belief in the story. The distinction isn’t just a matter of semantics; it’s a matter of understanding the mindset and expectations of your readers. Readers want to immerse themselves in deep belief. We need to respect them enough to keep that belief alive throughout the story.

Secret #3: 

IT’S ALL ABOUT ESCALATION.  

At the heart of story is tension, and at the heart of tension is unmet desire. At its core, a story is about a character who wants something but cannot get it. As soon as he gets it, the story is over. So, when you resolve a problem, it must always be within the context of an even greater plot escalation. As part of the novel-writing intensives that I teach, I review and critique participants’ manuscripts. Often I find that aspiring authors have listened to the advice of so many writing books and included an engaging “hook” at the beginning of their story. This is usually a good idea; however, all too often the writer is then forced to spend the following pages dumping in background to explain the context of the hook.

IN CONCLUSION

By consistently driving your story forward through action that follows naturally, characters who act believably, and tension that mounts exponentially, you’ll keep readers flipping pages and panting for more of your work.

 

Into the Heart of the Soul

 

In the heart of the soul,

Never a blank slate,

With questions laid bare,

Are carried there,

Our secrets not shared,

 

Grasping at straws,

A struggle of soul,

With trials and travail,

To understand how frail,

Our hearts so veiled,

 

In the heart of the soul,

A revelation is heard,

A memory of youth,

Reveals a blade of truth;

To yourself, be true.

                                            K. D. Dowdall 2018

 

 

 

Jami Gold’s Resources for Writers

My Writing Articles by Jami Gold

I’ve written over 700 posts on my blog, most geared toward writers. Sign up for my newsletter to receive new blog posts every Tuesday and Thursday. The links below highlight some of the most useful and helpful posts so far (or use the search box in the sidebar to find information about a specific topic). https://jamigold.com/for-writers/

Favorite Writing Blogs and Resources

  • Fiction University by author Janice Hardy (excellent writing craft advice) and her team of guest authors (for more writing and publishing advice), including the Indie Author Series, where I’m a faculty member/guest blogger
  • Writers Helping Writers (The Bookshelf Muse) by authors Angela Ackerman and Becca Puglisi (home of writing thesauruses for brainstorming unique emotion, settings, weather, and sensory information, etc.)
  • One Stop for Writers by Angela and Becca, the same team as above and the authors of the fantastic Emotion Thesaurus, created an online version of all their thesaurus collections and tools
  • Writer’s Knowledge Base by author/link-collector Elizabeth Spann Craig (the search engine for writers)
  • storyfix.com by author Larry Brooks (great breakdown of story structure; author of Story Engineering)
  • warriorwriters by author/social media expert Kristen Lamb (fantastic advice about writing and publishing industry; home of #MyWANA)
  • edittorrent by editors Theresa Stevens and Alicia Rasley (writing advice and publishing news from editors)

Favorite Writing Tools and Resources

  • OneNote: A free, full-featured application for saving research notes, planning our story, capturing photos and ideas, etc. And everything is searchable. Squee!
  • Dropbox: Never lose your writing! Internet-based, password-secure storage to access your work from any connected device (computer, phone, tablet). Ta-da! Instant backups. *smile*
  • Evernote: A great little access-anywhere note-taking application. I use this for everything from grocery lists to remembering that cool name for a character I saw in a movie’s credits.
  • Scrivener: Writing tool for planning, drafting, and ebook formatting. I mostly use this for drafting, but the possibilities are endless. (For Windows and Mac)
  • TechSurgeons: Need a (better) website/blog? TechSurgeons specializes in author services (and understands our neuroses!). Super reliable, kick*ss support, and technical geniuses. (Why yes, they’ve saved my site more times than I can count. *smile*)

Favorite Writing Craft and Reference Books

Click here for a listing of writing craft and reference books I’ve used and/or discussed on my blog

The Writing Craft: Novel Openings to Avoid by Jami Gold

Jami Gold has the most complete Writing Tips, Writing Resources, Editing Resources and they are all unbelievably wonderful! I am posting one of dozens of great writing tips, plus so much more. http://www.jamigold.com  I discovered Jami Gold on Anne Allen’s blog and she also presents wonderful writing tips!http://www.annerallen.com 

I found the following writing tip to be exactly what I needed to know and so interesting – who knew?  Jami did!

 

 

 

Novel Openings to Avoid:

1)     Weather reports: the famous opening line, “It was a dark and stormy night” may keep contemporary audiences aware of Lord Bulwer-Lytton’s otherwise forgettable 1830 novel, Paul Clifford, but not in a good way.  Opening with meteorological events isn’t only a problem with people who’ve read too much Victorian literature. Our television-saturated brains tend to think in terms of the “establishing shot” of a screenplay. But, a novel needs more than pictures to connect with the reader. It needs human emotion.

2)     Morning wake-ups: showing your character waking up or getting ready for work/school hits the snooze button for readers. In a movie or TV show, you can show one character getting ready for work and it’s interesting. In the cable TV series, Dexter, the serial killer/protagonist’s morning ablutions open every episode. But in a book, where you couldn’t have the creepy-comic music and double-entendre blood orange shots, the same scene would bore us silly.

3)     Dreams: some people call this the “Dallas” opening, because of the TV soap that got written into such a corner the writers had to pretend a whole season was “just a dream.” Writers sometimes try to hook readers by opening with a scene of surreal horror—but if it all turns out to be a dream or a video game on page three, the reader feels tricked.

4)     The death of the protagonist: This is apparently very, very big with the paranormal/horror crowd. If your MC is a zombie, vampire, or other member of the undead community, think of something else. This has been done, um, to death.

5)     Trains, planes and automobiles: if your character is en route and musing about where he’s been and where he’s going, you’re not into your story yet. Jump ahead to where the story really starts.

6)     Funerals: Slush readers say a huge number of manuscripts—especially memoirs—start with the protagonist in a state of bereavement. But most readers aren’t eager to embark on a literary journey with a miserable MC.

7)     “If I’d known then what I know now…” starting with the conditional perfect may seem clever to you, but unfortunately it does to a lot of other writers, too. This is cliché territory—don’t go there.

8)     Personal introductions: starting with “my name is…” has been way overdone, especially in YA. Again, not a bad idea, but too many people thought of it first.

9)     Minor characters speaking or thinking. The story-telling old man, the child—any detached observer telling the tale will only distance the reader. Whoever/whatever we meet first becomes foremost in our minds, and readers will want to go back to that character. Make the first person you meet an important member of the cast, not a spear-carrier.

10) Reader-Feeder dialogue, also known as “As you Know, Bob.”

“I must retrieve the elusive magical jewelry item,” says Bob. “Without it, I cannot access my rightful powers—and my evil Uncle Murray will usurp my domain.”“But as you know, Bob,” says Sidekick. “The magical jewelry item is in the hands of the four skanky queens of the Bingo Borogroves and guarded by the Dire Dragoons of Doom. We will be risking our very lives.”  Sidekick is not saying this for Bob’s benefit. He’s saying it for ours. Conversational info-dumps are never a good idea.

11) Group activities: don’t overwhelm your reader with too many characters right off the bat. It’s like meeting a bunch of people at a cocktail party: you don’t remember anybody’s name if you hear too many at once.

12) Internal monologue: Musing is boring. Especially reader-feeder musing. “Back when I was younger, I would have slain the dragoons with my magic sword, but when my parents were killed in that chariot crash on the way to get Borogrovian take-out, and my Uncle Murray had me locked up in the Dark Tower of Doom, the skanky queens stole my magic sword and melted it down to make a necklace and a pair of matching earrings…” We don’t need to know this all on the first page. Bring in backstory later.

13) Too much action: Writing gurus keep telling us to start with action, action, action, but this isn’t actually such good advice. We need to be emotionally engaged with a character before we care how many dragoons of doom he slays.

 

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