Tag Archives: fantasy

Truth and Meaning in Your Novel

Meaning.

What is it, and why is meaning vital to us as writers? Why should we look for it where it grows in our work, clarify it, and hone it? Why should we care?

How do truth and the life-changing meaning that arises from our stories impact our characters, both in their world and our own?

I haven’t seen any writing book dig into the subject of how truth impacts our characters and creates meaning as well as Getting Into Character: Seven Secrets a Novelist Can Learn From Actors.

I’ve had hours of profitable fun looking into Brandilyn’s writing techniques because they are based on the reality of truth and lie, good and bad, wrong and right in the human heart. She shows us how to grow ‘true’ characters that reflect reality with clarity, whether we write fantasy, contemporary, memoirs or any other genre.

I have felt the impact of truth and meaning in books since I first began to read when I was quite young, but for a long time I could not pin down or express why some stories left me with a sense of hope, exhilarating beauty, and strengthening courage, while others left me with a feeling of cumulative despair, disgusted by ugliness, and fearful of life. What made the difference? How was it done? Why?

These questions have only grown clearer since my tweens. Their emerging answers are a big part of what drove me to write YA fiction. Lately I have been mulling over what I can see of these answers. They relate to prevalent thought in our age: that truth is relative to you, and meaning is what we make it.

So much destruction comes from this.

Good stories deal with truth and error, testing the validity of individual people’s ‘inner truths’ against each other and a universal framework of inherent truth apparent in everything around us, in the way the world works. Acting on the belief or premise that good and evil are interchangeable to any degree never works well in fiction, nor in real life. Calling evil ‘good’ creates a muddle where all is shifting sand and there is nowhere to stand.

The fact that this thinking defies logic, conscience, and experience quite effectively counters the idea that good and evil are the same – for the thinking head as well as the feeling heart. People who seek to rob the words, ‘good’ and ‘evil’ of meaning by saying they are interchangeable, in the end act as if there is no real meaning in the world, nothing that does not change to conveniently fit their surroundings, like a chameleon. This results in their speaking nonsense and fostering chaos, and ends in despair because it is far more of a fabricated fiction than stories.

It is an absolute fiction, if you will.

The presence of true good and true evil, clearly identified as not being the same, are necessary to create a solid story. We all realize on a gut level that some things are wrong and some right. Just as a lie, though a small lie, is nothing more or less than a lie. A small untruth cannot be true, or you deconstruct language and the reality it reflects.

Truth is vital to living in reality.

Conflict arises from the opposition between real good and real evil. It is true that good and evil are often mixed in us as well as in our characters, but one never becomes the other. The smallest bit of evil remains wrong, just as iron and clay may be mixed and set in a mold, but even the tiniest grain, though it appears part of an amalgamated whole, is yet itself. And pursuing even a grain of truth has potential to lead to great good.

And the actions of evil men, though the men themselves may have some good in them, cannot be allowed to destroy others. Evil demands conflict, and well we know it, in the interest of right, conscience, and hope of real peace. As it is in life, so it is for our stories.

Truth is not relative but absolute in relation to us, whether we believe it or not. This becomes unavoidably apparent in fiction.

Core ‘truths’ we believe are tested in our stories when our character’s actions prove them good or bad as they act from the inner values or core truths we operate from, with tangible spiritual and physical results. This is why great classics of every genre are so powerful. Meaning arises from the interplay of truth with what we believe – wrong or right – with what others believe, and what we both do about it. In the great stories we recognize the battle of our hearts and hands.

Brandilyn’s book has a lot to say about seven vital aspects of meaning, how to uncover our characters’ secrets, how to reveal these truths to our readers, and how meaning arises from it– all without getting philosophical. The ramifications of what she teaches gives us a huge potential to craft and forge and design what we once created by feel alone, when we were half blind to truth and meaning.

She digs into:

  1. How connection at the level of truth is essential between the character and the reader. Secret # 1 – Personalizing, “discovers a character’s inner values, which give rise to unique traits and mannerisms that will become an integral part of the story.” (Pg. 12) She calls these inner values or beliefs “core truths”, which have meaning that our characters act on. (Pg. 22) This extends into traits, or attitudes, and to mannerisms that reflect a character’s reaction and grows yet further. As she says, “The beauty of this personalizing secret is that the process creates the entire character, both inside and out. Still, this is only the beginning. In the following chapters I’ll show you how the inner values and traits you’ve found through Personalizing lay the foundation for further discoveries about your character and your plot as a whole.”

Truth goes far deeper than the surface actions of a person, empowering that person and everything they do, building the meaning of the story as a whole and directing its impact. Meaning powers our story into fictional reality.

  1. This leads us to Secret # 2 – Action Objectives. Every Action Objective is based on an inner value, or core truth. Every core truth holds meaning, which is a fascinating force that drives our entire story on every level, from the characters, to the conflict, the plot, the story’s climax, and its accumulation of meaning to the reader. Brandilyn uncovers the four D’s that touch them all: our main character’s overarching Desire, obstacles that Distance them from it, then circumstances that force the Denial of their desire, and finally, the Devastation of their desire.

As she says, “Once you’ve determined your Protagonist’s Desire, ask, ‘What happens if she doesn’t achieve it?’ In other words, what are the stakes? … often it’s not just the character’s way of life at risk, but loved ones as well. In a “high concept” story, the whole world’s existence may be at stake.” (Pg. 54)

Both failure and achievement of the Action Objective has real meaning and propels the story forward. Exploring the truth of who a character is and what they believe in the face of challenges and contradictions clarifies and deepens the meaning of our stories.

  1. Secret # 3 – Subtexting in dialogue reveals the truth of its underlying meaning. Brandilyn’s techniques make it easier to do this while increasing tension.
    “Without an inner reason for existence, lines in a play [or book] will be simply words, recited by rote, lacking believable emotion. When an actor looks beneath the lines to fully understand a character’s desires and fears – the subtext of what is spoken – the words spring to life. … They express a character’s strengths, weaknesses, passions. They bare a human soul.” (Pg. 91) “In subtexting the real communication is artfully woven through description into the context of the conversation.” (Pg. 95)

In other words, bursting with buried meaning, layered meaning, and nuanced meaning, subtexting reveals truth.

  1. In Secret # 4, Coloring Passions, often variable and seeming highly contradictory, the truth of our human emotions requires exploring the many shades of feeling that collide in our hearts.

So Brandilyn shares with us, “Stanislavsky likens a human passion to a necklace of beads. Standing back from the necklace, you might think it appears to have a yellow cast or a green or red one. But come closer, and you can see all the tiny beads that create that overall appearance. If the necklace appears yellow, many beads will be yellow, but in various shades. And a few may be green or blue or even black. In the same way, human emotions are made up of many smaller and varied feelings – sometimes even contradictory feelings – that together form the ‘cast’ or color of a certain passion. So, if you want to portray a passion to its utmost, you must focus not on the passion itself, but on its varied components.” (Pg. 120)

Exploring truth versus lie in all their degrees creates complex characters: such as the truth of twisted, dying love that can reveal itself in hate (Pg. 126), or where the contrast between Jean Valjean’s steady empowerment after his heart was changed by mercy and Javert’s pride and unenlightened conscience, are clearly seen in the height and depth of their meaning. (Pg. 135)

Truth and meaning give us the endurance and growth of Eamon despite horrific evil in Anna Thayer’s The Knight of Eldaran series, shines the light of hope throughout the lands of S.D. Smith’s The Green Ember series, instills the will to live beyond ourselves in The Wingfeather Saga, and shows how stories like these can draw our hearts to goodness in Andrew Klavan’s The Great Good Thing. But how do these authors communicate from their hearts to ours?

  1. Secret # 5 – Inner Rhythm, deals with ‘hearing’ our characters’ rhythms, both the rhythm of their actions and the truth of their emotional motivations, and using these to weave a potent picture. Brandilyn puts it succinctly. “Once you are ‘hearing’ the Inner Rhythm, you can blend it with your character’s personalized traits and mannerisms, and with his Action Objectives for the scene, to create action that is believable and full of emotion.” (Pg. 158)

Facial expression and other body language of a character create powerful telltales that reveal truths to us, but we must hear those rhythms in our character and translate them clearly, or our reader won’t be able to feel them, though we outright tell them. It’s like watching a movie without the music, or hearing the music and the script alone without the actor in play. But when the music is there with the actor, and both translate the script, you find yourself within another heart, swept inside the story.

  1. Some words encapsulate truth and our translation of it better than others. Secret # 6 – Restraint and Control, are pivotal to cutting away the confused, the vague, and the extraneous words that destroy, hide, or bury the truth of what our character feels, thinks, and does, and consequently – muddies or clarifies the meaning of our story. Restraint and Control also correlates the beat of the words and sentences with the dominant rhythm of the scene, whether it is the inner rhythm of emotion or the outer pace of the action.

“If a scene is weak or moves too slowly, it may be the result of superfluous or poorly chosen words – words that blur the focus of the scene and slow the pace. Through Restraint and Control a novelist learns how to use the best words to flesh out characters, create an aura, and move the scene forward.” (Pg. 175)

Words either deaden meaning or sharpen it.

  1. But how can we explore truth we do not yet know, find meaning we have not yet experienced, in a character we feel is alien to us? Emotion Memory – Secret # 7, is a way for us to plumb the depths and heights of every character, from heroes to villains.

As Brandilyn says, “Time to get personal. To this point, we’ve focused on your character. By now you have a clear understanding of how important it is to know your character from the inside out. We’ve discovered who he is – his inner values, traits, and mannerisms. We’ve discussed his Action Objectives, his Inner Rhythm, his motivations for Subtexting, the widely varied colors of his passions. Now we’re going to talk about you. Like it or not, the truth is this: your character’s emotions begin with you. You are the well from which every passion of your character – every tremble and smile and tear and jealousy – will be drawn.” (pg. 200)

So, the truth of our character is the culmination of ‘who he is’ and ‘what she means’ to our story and the world. The act of lending our life and heart and breath to a character leads to our discovering them – and ourselves. At the least, in seven aspects of truth and meaning.

To recap, connection at the level of truth is essential between the writer, the character, and the reader. Second, every core truth holds meaning, which is a fascinating and driving force behind our entire story. Third, subtexting in dialogue reveals the truth of concealed meaning. Fourth, often variable and sometimes seeming contradictory, the truth of our human emotions requires exploring many shades of feeling that collide in our hearts.

The fifth aspect deals with ‘hearing’ our characters, the rhythm of their actions and the inner truth of their emotional motivations, then using these to weave a picture bursting with life. In the sixth aspect, restraint and control cut away the confused, vague, and extraneous words that destroy, hide, or bury the truth of what our characters feel, think, and do. Our skill in this muddies or clarifies the meaning of our story. The seventh aspect reveals how we can we explore truth we do not know yet, discover meaning we have not experienced, and bring to life a character who is alien or unfamiliar.

So why pursue good meaning in what we write?

Our story stands on solid ground – in truth revealed as our characters grow, truth woven throughout the human spirit and mind, truth given birth in action, and the meaning arising from uncovered rhythm, clarified by the right word, honed by judicious cutting – meaning stands on the reality of truth. As our villains discover, and our heroes learn, meaning built on lies, on false reality, fails when it is tried in conflict. We must dare to see truth and its meaning, dare to name it, dare to act on it. Dare to live in it.

Because it’s true.

Because we want to present others with a real picture of hope and goodness that exists to overcome evil and despair.

Because we desire to illuminate each person’s potential, explore who we are, and truly experience the world and the universe.

Because, if we are a Christian, we dare not hide him who is our hope and the hope of the world.

Because we live by faith alone, through God alone, in Christ alone.

Because no human was created to be silent.

Truth is the only solid ground under our feet. The sand of lies heaped beneath us will betray us the moment we are tested and discover we have no solid footing. Why is this important?

Because it points to truth and lie, and the meaning of both impacts far more than ourselves. Truth and meaning are vital to our existence, to the life of the world. They make up the very fabric of the universe.

So, what do you think of truth?

Where do you think meaning comes from?

Why does it matter to you?

Suggested reading: C.S. Lewis, The Abolition of Man, chapter 1.

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150 – 175 Best Fantasy Books or Your 2017 Guide to Epic Fantasy: Post 1

Fantasy and the 7 Senses

You know the five senses that we all use.

And we explore fantasy adventure with all of them: Sight, scent, taste, hearing, touch. (Inside our minds, of course.) And of course intuition, the 6th sense, is never far from reach in a great fantasy story.

But I think there is one more sense.

Fantasy brings together the six senses into a whole and creates a 7th. The seventh sense is one you can discover often if you dive deep into fantasy realms and keep your eyes open.

The greatest fantasies create at moments a unique experience, a kind of sense not to be found anywhere else in the universe we can see. Except in bits and pieces; a kind of joy-filled truth caught in goodness or day dreams or dreams of the night, where odd things that strangely fit are often found.

This 7th sense grasps gleaming facets of truth that we could not see before. It touches them, tastes them. Not first examined by our reason, but felt deep in the actions and reactions you experience while captured within fantasy characters. Inside the kind, the evil, the young and the old, the weak and strong men and women and creatures of fantasy. It happens without your noticing it, while you are enthralled by the hero or heroine you find in many hearts, sometimes growing from a single weak seed. It makes you revolt against evil, also often growing unseen, battling within.

We are so often blinded by our familiar world it usually takes a moving deed, a circumstance, or a state of being in an unfamiliar setting or against a stark backdrop for us to see truth clearly. Such clearness can be startling.

Such was the case for me. Not long ago, I was moaning that there were not very many good fantasy fiction books from the faith sector of our world. Not that I dislike general fantasy, far from it, I admire their authors’ skill very much. I only wish more of us imitated the high bar of storytelling without deserting high moral quality.

I was shown how wrong I was to moan. Patrick Carr’s Shock of Night, Anna Thayer’s Knight of Eldaran Trilogy, Andrew Peterson’s Wingfeather Saga, C. S. Lewis’s The Screwtape Letters (a novel delightfully re-read) all kept me up late into the night. Sure, there is definitely room for more faith-based fantasy where adventure is never sacrificed, but I’ve discovered treasures everywhere over the long years—from epic fantasy to dieselpunk and beyond. If your heart is hungry . . . 

I want to share my otherworldly discoveries on my lifelong venture into best fantasy novels with you.

Join the quest, and find your next adventure! There will be at least 70 posts in this series, and who knows what we may find?

If you don’t want to miss a single grand adventure, sign up in the side bar, where special treasures are reserved for those who seek them.

We’ll venture into worlds unseen where your heart will beat fast at necessary sacrifice, thrill with the triumph of downtrodden hearts against overwhelming odds, and draw lines of right and wrong in blood. You will laugh in side-splitting humor, cry with loss, fight against evil and rage against its seeming victory. But in the end you will come back to peace, hugging gems to your breast. And for those who can see, there is a light going before you.

Follow it.

Let no wall of ignorance, busyness, or other unworthy reason bar you from your next journey to unearth . . .  what, I cannot tell. Prepare to use your seven senses.

Crossover: find the Eternal, the Adventure.

 

Here’s a minute taste of one journey waiting for us on my best books shelf, seeking its place in future posts like The Romance – Exploring Treachery and Trust.

From Victoria Hanley’s The Seer and the Sword:

Torina looked at the boy, at his heavy curling hair and remote, wild eyes.

“If he is my slave,” she asked, “does that make him my own?”

“All your own.”

“I can do whatever I want with him?”

The king nodded.

The princess shivered. “What is your name, son of a king?” she asked.

“Landen.” The boy’s manner, still that of a prince, contrasted oddly with his dusty rags and bruises.

“Vesputo,” Torina said.

“Princess?”

“Cut his ropes, please.”

The commander looked to his king, who inclined his head. A blade was drawn. Vesputo severed the ropes carelessly, trailing fresh blood. Landen rubbed his wrists as Torina stepped closer to him.

“My father fought your father.” She said it very softly, speaking as if no king or soldiers looked on. For her, they must have been forgotten.

Landen looked at the ground. A pulse in his neck beat, like the heart of a newly hatched bird.

“Landen,” she whispered. “I never had a slave.”

The boy stood quietly.

“And I never will,” she continued, lifting her chin. “Papa,” her voice rose. “You gave him to me. I set him free.” . . .

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2016 CJ Redwine’s The Shadow Queen

A riveting retelling. Snow White has grown a backbone and a half to save her kingdom. And she doesn’t do it alone.

When Lorelai’s parents are murdered, she wants to save her family and her kingdom. Ravenspire is in the throes of death, the earth of the kingdom itself drained by Queen Irina’s lust for power. When Queen Irina comes for Lorelai and her brother Leo, the princess discovers strengths greater than she knew through her struggle to tame shape-shifting dragons, defy an evil queen, and do the right thing. Continue reading

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2016 March YA Fantasy Blog Letter

Well, I’m getting on to adventure.

Journey beginning . . .

Journey beginning . . .

First, a bit of news:

I’m excited and just wanted to encourage you all that our fans really appreciate us taking time to talk to them.

Yesterday I emailed Rachel Neumeier of the Griffin Mage trilogy, The Floating Islands, etc., asking to order a signed copy of her new book Keeper of the Mist that is coming out for my book giveaway that Derek is helping me set up. *Giveaway coming soon.*

Continue reading

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Azalea’s Scop Talk

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Mythic fantasy often displays the moral war, an adventure we are all embarked on.

Path of the Warrior: First Entry, is my opening story about how Tae Chisun, respected warrior from Korea, Land of the Morning Calm, seeks to save his people from annihilation by making peace with an attacking enemy in secret.

His Kuksun (general) exiles Tae from his love and his life, setting him on the path of a wanderer, where he will save enslaved stronghold daughter Kyrin Cieri of medieval Britain, impacting the lives of many in their stories to come.

Path of the Warrior explores how compassion, anger, and love can motivate a man to sacrifice everything. When Tae sees his Kuksun foolishly determined to die with all under his command, dooming their people to death, he seeks terms of peace with the enemy. He must kill a master above him who taught him what he knows of war, yet betrayed them all.

In spite of his Kuksun’s wrath, and about to be executed, Tae thinks of his wife, Huen, the Kuksun’s daughter, and begs him to give her his sword and his mother’s land. His general decides to let the gods decide Tae’s fate and has him thrown over the wall to the enemy. Thus the Chronicle begins …

How compassion and mercy can coexist with killing, and drive a person to kill to protect others, is important. Warriors are not necessarily evil. In fact, killing is sometimes necessary. It depends on the warrior’s motive. If it is worthy, a warrior is truly a hero or heroine, as the case may be.

Our motives of love, mercy, kindness, fear, revenge, and anger can become quite tangled. Our desires tend to be mixed at the best of times, but that does not let us off doing the best we can. And if we are God’s forgiven child, he is growing more love and compassion in us all the time.

Genuine care for some people’s lives may require the loss of other’s lives. Many people who do evil will not be stopped by niceness—they are set on their path to destroy others, to achieve what they want at any cost—deadly force is the only thing that will stop them. We are given responsibility in the way of the warrior to save life in just defense. 

The moral war yields good story fodder. And always growth. Downwards or upwards. The choice is ours.

Crossover: Find the Eternal, the Adventure

P. S. Lance and Quill is still in my editor’s capable hands, and events there have pushed my publishing date a few weeks forward. Thank you for your patience, and enjoy summer!

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Falcon Heart is official!

Well, it’s official. My book Falcon Heart is finished.

The print proof came in yesterday evening, and it looks great! I’m so thankful and excited. This has been a long time in coming, and the Lord has brought it together.

Falcon Heart is available in both print and ebook on Amazon. My appreciated reviewers, readers, and friends, I hope you enjoy it! I also just applied as a GoodReads author today. Thank you so much!

Have a great day.

Azalea

P. S. Below gives readers a little idea what Falcon Heart is about if you want to forward this to a friend…

A strange dagger…
Adventure beyond fear…

Slavers seize Kyrin Cieri from the coast of medieval Britain and sail for Araby. With a dagger from her murdered mother’s hand, an exiled warrior from the East, and a peasant girl, Kyrin finds mystery, martial skill, and friendship closer than blood. 
The falcon dagger pursues her through tiger-haunted dreams, love, and war in the Araby sands. Kyrin is caught by the caliph’s court intrigue and faces the blade that took her mother. One thing can give her the will to overcome, justice against hate, dagger against sword. 
Murder, sacrifice, vengeance…compassion and the art of war.
Crossover: Find the Eternal, the Adventure

Whether you love historical or Christian medieval romance with a touch of martial arts fiction, or need a young adult epic fantasy series for teens, Falcon Heart, Chronicle I is a solid choice. 
Read the excerpt of this medieval adventure and discover the magic of Falcon Heart. A medieval fantasy of romance and mystery from Britain to Arabia and back.

Old grunge paper. And here’s the link to Amazon: http://www.amazon.com/Falcon-Heart-Chronicle-Azalea-Dabill/dp/1943034001/ref=sr_1_1?s=books&ie=UTF8&qid=1428611962&sr=1-1&keywords=azalea+dabill

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Intriguing…a book review.

Midnight_Captive_Front (2)

Midnight Captive was an intriguing read for me, and this review is a few of my thoughts on it.

At first I was a little put off by the confused similes and metaphors and the less-than-stellar grammar. But I was drawn into the story and came to care about the characters deeply.

True, they could use fleshing out, but they hold crystal truths up to a reader’s eyes all the same. Prince Sheridan’s discovering his own identity apart from his brother, Princess Hermione daring to believe in sacrificial love, the minstrel, Alyn’s, bravery in so many ways, and Phaedra’s perseverance and hope of freedom from her and her sister’s curse. Even the evil Seanan was a person with more than one facet.

I would love to see Midnight Captive rewritten in a fuller version.

Some of the logical transitions between various characters’ actions are missing. As in the king’s sudden change of heart toward his daughter after four years of trying to free Phaedra from the curse. His change of mind needs to be shown—how it came about. I hope this makes sense. And if you don’t mind my two cents, a different book cover might serve you better. Midnight Captive’s current cover says Victorian/love story era to me, not fantasy. (I’m a fan of Cameron Dokey’s fairy tales. You might like them too.)

Thank you for the privilege of reading your work, Emilie. Keep writing. I see a lot of promise in how you wove Cinderella, the Pied Piper, and other tales into a new story. Just be true to the vision you see in your mind, see the vision as clearly as you can, and find words that fit that vision. Be picky about the words. They make or break your tale.

Alyn’s climb into the tower to see Princess Hermione and the humor there was good. J In the end, this line of the book stood out to me. It rings with Midnight Captive’s theme of freedom:

“Do it for yourself, Minnie. You are just as cursed as I am. You might see the day physically, but you are not seeing the real beauty of it. You are too much a prisoner of the night.”

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Scop Talk: On Reading Fantasy

The bit below, from Gladys Hunt’s Honey for a Child’s Heart, is just good. I have to share.

It brought back so many wonderful memories of adventures in my early reading days. She encapsulates much of what I’ve felt about reading fantasy and what it does for me in my heart, soul, and mind. Because of that, what she says extends to you and every human in our world.

She writes a frank, uplifting and inspiring conversation about the importance of books, fantasy, and reading for children and parents. You’ve got to read her book if you have any interest at all in the world of hopeful books. She includes a good list of books at the end. They brought back to me the adventure and wonder. Dive in!

“Lewis Mumford once said, ‘The words are for children, and the meanings are for men.’ But I don’t believe it. Children suspect more is present than the actual story, and because there is little space between the real and the unreal world in a child’s mind, they reach across with amazing ease and begin to ferret it out. They may read the story again years later and find that their experiences in life help them see more. Adults will read the same book and begin to better understand why they loved it as children. But at any age, the story is an experience of quality and substance.

“The most subtle and profound ideas are often found in books written for children. A kind of ‘suspended reality’ exists in which what is true becomes more obvious. Good fantasy helps us see ‘reality in unreality, credibility in incredibility.’ A child accepts and loves fantasy because of his own rich imagination and sense of wonder. For children, magical things are not nearly as complicated at they are for adults. They have room in their minds for all sorts of happenings. And those who write fantasy are not so much those who understand the heart of a child as those who have a child’s heart themselves. Out of the depth of their personal experience they combine a child’s heart with profound insights into life’s meaning. Some fantasies laugh; some are full of nonsense; other are breathless with adventure and brave deeds. …

“Not everyone takes to fantasies or fairy tales, although I believe most children do. These stories are certainly at their best when read aloud–especially fairy stories–because the lovely cadence of words and the economy of language make them a special experience. It is adults who worry over the make-believe, the magic, the strange creatures, the evil events, the wars, and sometimes the gore. Children have far less trouble. They readily know the difference between fantasy and reality. ‘No child confuses dragons or unicorns with cattle in a meadow,’ one writer said. It is the child who doesn’t know about dragons and unicorns who is to be pitied! …

“Children don’t squeeze life into boxes. They have room for a large variety of emotions and happenings and are quite aware of the possibilities in people. They know life is difficult; they are happy to believe it also turns out right in the end. I like Beauty and the Beast to this day because in that tale an act of love transforms what is ugly into something beautiful. I believe it still happens.”

Blogger’s Note: Gladys does not say all fantasies and depictions of ” the make-believe, the magic, the strange creatures, the evil events, the wars, and sometimes the gore” are good; her context deals with these subjects handled well in story. Read Honey for a Child’s Heart. You won’t regret it! Published by Zondervan, 1978.

Crossover: Find the Eternal, the Adventure.

Crossover: Find the Eternal, the Adventure.

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Scop Talk: Book Cover.

Here’s something I’ve been working on this last week or so. I’ve been playing around with various comp photos and photos found on Pinterest to compile a tentative book cover mock-up for Falcon Heart. Don’t worry, I’ll be seeking the pic rights even though my sister is just going to use the mock-up for a rough model for her artwork. Then I’m hoping to get the artwork colored so it looks like a traditional fantasy book. But what I really wanted to ask you is what you think: 1) It’s been suggested that I try the falcon flying in, wings outspread, through the the center of the arch, and 2) That I have my sister shorten the sword handle because it distracts the viewer from the model’s face. What’s your opinion? Click twice on the pic to see a larger version. Thanks for your help!

Tentative Book Cover

Tentative Book Cover

 

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“Scop Talk”

Blog and family pics 132

Fantasy readers, what kind of fantasy do you like?

As a blogger of “Scop Talk” I go for quality story-telling. One element of a good tale is detailed world-building that assumes I am intelligent; such as C. J. Cherryth’s Foreigner,  Robin McKinley’s Deerskin and Beauty, Rose Daughter, etc. Not simplistic communication that tells and describes the character’s action both at once, and insults my comprehension. Another element is a sense of wonder at the beauties of the created world, and that man is not the end-all and be-all.

I have not found many stories that honor the Creator of our bodies and souls, but tales that attract me the most portray some kind of inkling that the characters know there is a governing power of good beyond ourselves: tales that show truth, honor, loyalty, and goodness contrasted with the deceit and monstrosity of evil and those who follow it. And that show how evil can be deceptive and appear beautiful. Dennis McKiernan’s The Iron Tower trilogy is one of these. A medieval setting adds to the fun.

And a good fantasy is never complete without a grand sense of adventure. The adventure comes in the main character’s inner journey and war, the outer journey and conflict, and the character’s choices and responses that shape the world, such as in Lisa T. Bergren’s Cascade, Waterfall, and Torrent, in her River of Time series.

Actions do matter. Motive matters even more. Fantasy is a vehicle. Good fantasy makes a difference in how I see myself and the world. It shows that the smallest person makes a difference. We matter, and matter to our Creator.

You matter to me. As I write my fantasy stories, I’d like to know what kinds of good fantasy stir you. What do you like about your favorite fantasy tales? What do you call bad fantasy, in the matter of crafting and content? Will you share some Scop Talk?

Thank you so much.

For a longer list of great fantasy reads, see my reading list on my resources page.

Crossover: Find the Eternal, the Adventure.

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