Showing posts with label Dark Tower. Show all posts
Showing posts with label Dark Tower. Show all posts

Thursday, February 19, 2015

How to Make Culture a Driving Force in Your Fantasy Story


When a fantasy buff curls up for a good read he is geared up above all else, for an inventory of unfamiliar customs and practices which—new ways of using the bathroom may make the list—will definitely break the back of convention. And that’s because the plot is more often than not, set in a parallel universe. Many of these yarns brim over with strange creatures which are totally alien to the knowledge we possess on this planet.

In most cases, writers of the fantasy genre do not beat themselves up about culture when creating their stuff as they do say, world-building, original language, and of course, plot and character development. When you add it all together, what most writers really do is ‘allow’ the ‘way of life’ in their created world shape itself as the events in their story unfolds.

You know, I looked up the word, Culture in the dictionary. Here’s what my little research churned up:
G The taste in art and manner that are favored by a particular group;
A All knowledge and values shared by a society;
B The attitudes and behavior characteristic of a particular social group or organization
According to the definitions above, all the practices, customs, rituals, language, in point of fact, all the peculiarities which draw the line between a fantastical universe and the one in which we live are all really one thing, ‘culture.’ It’s amazing when you consider hundreds of stories have been written just by imagining “The taste in art and manner; knowledge, values, attitudes and behavior operating within a particular society totally different than ours.”

1. Use Culture to Create Story Resonance
Often when a writer considers establishing cohesion in his setting the word that most easily comes to mind might be ‘world-building’ rather than moderating ‘the characters’ way of life.’ I think that a wealth of resources is cast away if culture is treated as a passive reaction to story. Observing the way the folks in your story behave and making it trigger the tension—causing the actions in the plot to arise out of their habits and superstitions and inconsistencies in keeping up with rituals—gives you a better shot at sustaining a viable streak.

2. Use Culture to Address Real Life Issues… in a Different Light
When your story people adhere strictly—too strictly, if I may add—to a set of rules and get boxed into awkward situations, you can exploit it for your own benefit by turning it around and making it deal with real life crisis. It may throw light either on a positive or negative subject and your character may stick out his neck for a set of principles and get it ripped off his body in the process. What matters is to get the message across with a little bit more force by consciously making the ‘tastes and behavior’ of your character drive the plot.
3. Use Culture to Explain Paranormal Activities/Magic
There’s a scene in Wolves of the Calla(Book 5 of the Dark Tower fantasy series by Stephen King) where Roland Deschain pours gold and silver coins out of a sack he called a ‘grow-bag.’ The catch is the leather sack was otherwise ‘empty’ before and after he tipped it and poured out the stuff.
            Roland explained it as a gift from his father (the sack, that is) and claimed, “Most of the magic I once knew or had access to is gone, but you see a little lingers.” This comment is significant when we contemplate culture as knowledge shared by a society’ and without it, that leather sack would be nothing but a deus ex machina and we’ll be forced to regard Roland as a gunslinger-turned-sorcerer. The story would barely hold together after that scene.

4. Use Culture to Distinguish Peoples/Societies
This one is a little bit obvious, you will agree. Culture can be really helpful. You can exploit it to create and sustain suspense if you weave it seamlessly into the fabric of your entire plot.
            Creating a fantastical setting is like you telling the reader, ‘it’s a different world from where you come from.’ But when there is another universe or community of people within the same story, culture presents itself a vital material for inventing unique identities. The separate peoples might still share similar values but fiddling with the cultural background might be the perfect way to bring in stunning peculiarities and of course, create conflict.

5. Use Culture to Enhance Character Traits
Sometimes, a setting might invite characters to react in not-so-agreeable ways; situations in your story might evolve and make demands for your story people to act queer. If you’ve been listening to yourself read all along then you know exactly how to get out of a rut. Let culture do the talking.
            You can make almost any odd situation sound plausible. Just call it ‘the old ways’ and have it done with. Better yet, make one of the characters explain how and why it came to be that way. You can use narrative as well or employ flashbacks. But when you need to insert an otherwise inexplicable trait or peculiarity into a character’s profile… think culture.

This unique article of fantasy writing has what it takes to hold a complex plot together and render the characters and plot genuinely legit.

Keep your pens bleeding!

Akpan



Saturday, September 27, 2014

Does a Fantasy Setting Need Its Own Language?


Inscription: "No Good Deed Goes Unpunished"
quote from "Wolves of the Calla" by Stephen King
A good fantasy series does not need its own language. There is simply no reason for it to exist unless the author has a penchant for linguistics because any time it would actually appear in the book, it would have to be translated into an actual language, thus mitigating its usefulness as a distinct language. There are a few conceivable exceptions, like a short phrase or message that is presented in a native form, that is left concealed until later events. However, this usage is no different than a closed door or a locked chest in terms of plot devices.

Any fantasy author, by at least throwing in a few words and phrases in a made-up language, can communicate to the reader that multiple nations or multiple culture-groups exist in this world, which helps to make it believable.

Language is deeply tied to culture so when trying to create distinct cultures or subcultures within a fantasy novel it (language) can be a very useful tool. Language and culture are so inextricably linked that creating a language is essentially creating a culture and doing this really helps to flesh out and define a culture and particular characters from that culture.
Basically language is great for an epic, a story in which we see different cultures. GRRM (George R. R. Martin) does this well in A Song of Ice and Fire, because he uses it sparingly.

It becomes less and less practical to have one common language as the geographical and cultural scope of the story increases. Having various languages that work will also show that the author has put extensive thought into how their ethnic groups have developed—trade languages, regional dialects and divergent forms can all hint at how civilizations have progressed given their relationships to each other and to any observable barriers.

If a distinct vocabulary has been established, the reader might also be able to see distinct cultural values given the right opportunities. Do family names come first or second for individuals? Is poetry terse and succinct or long and flowery?
The area of Wheel of Time was somewhere between the size of Europe and USA. Nevertheless, all people spoke the same language with only few unique phrases per country. In Song of Ice and Fire the Seven Kingdoms are the size of South America, but there is only one common language.
In Stephen King's Dark Tower Series. They all speak English, but in Roland's world if you want a quick snack, you don't have a sandwich, but rather a popkin, and when your grandfather was a kid, he didn't walk five miles (uphill both ways) to get to school, he walked three wheels to get there. Frankly, ‘ka-tet’ sounds a lot better than ‘group of destiny-linked brothers-in-arms. However, when you are creating a new race or species, I don't think it's farfetched to come up with a new language.

Hope you learned a thing or two from all the suggestions. By the way, these were all clipped from comments from a post I published a few years back. I thought turning it into an article would make the whole thing an easier read. You can get the full gist here: Should You Create Language for a Broad Fantasy World? Knock yourself out!

Keep your pens bleeding!

Akpan



Wednesday, February 20, 2013

Stephen King's 'Women'


Stephen King apparently has a threefold cord binding and holding his female characters in place as creations of a unique mastermind. At least, to a point where their interests can be nailed on a definable subject.
Men.

King's female characters' association with their male vis-à-vises seems to spark off their  journey into the dark places of this world. Trouble trundles in either directly from the male characters (in many of these cases, their lovers/husbands) or is tied to their hanging around these menfolk.
Photo: digitalspy.co.uk
There are exceptions to the rule, of course. You might find those (in any of King's novels) if you have a careful eye. The female characters featured here have their strengths and weaknesses which decided their outcomes in their peculiar situations. Mind you don't take these as the MC of the stories, some like Rose Daniels and Jessie Burlingame are, but most are major characters. This write-up points the strobelight on their peculiar qualities not the men in their lives and not the plot of the respective novels.



Rose Daniels (Rose Madder)
The MC (main character) in King's fantasy story, Rose Daniels married a psycho cop. Rosie endured Norman Daniels' (her husband) beatings for about fourteen years. But after realization dawns she may eventually get herself killed starring in the endless drama she breaks away from home.

She later remarries and her true altruistic nature which made her stick out fourteen years in a miserable marriage is brought to the fore. Rosie offers to rescue the baby of a woman she encounters in a parallel universe from a labyrinth guarded by a beast.

Winifred 'Wendy' Torrance (The Shining)
"Wendy is an extraordinary woman." These words made by her husband during an interview at the Overlook Hotel (setting of the novel) appropriately describe the character Wendy. Wendy is another female character who stayed strong by her man's side despite his shortcomings; Jack Torrance (her husband) was battling alcoholism and had inherited his father's temper (very bad temper).

When Jack threw a fit and unwittingly broke his son's arm, Wendy was there to call the hospital. When the "hotel" took possession of Jack's mind and turned him against his family, to save her's and her son's life, Wendy battled her husband and love found a way in the end.

The prototype bad nurse, Annie Wilkes is responsible for the deaths of over 100 old folks and infants. She happens to be the number one fan of the writer Paul Sheldon.

While a practicing nurse, Annie Wilkes assumes the role of god and maker and believes other people's right to life is her business. She has the right to decide who among the folks under her care lives or dies. She lives alone, is divorced and though arrested once in connection with the deaths for which she is responsible is never actually convicted. Her treatment of the sick and crippled Paul Sheldon reveals her oppressive and possessive state of mind towards the weak.

Odetta Susannah Holmes lost her legs when a sociopath pushed her in front of a subway train, meaning to kill her. She deals with this trauma by unconsciously creating a volatile other hidden in her brain. Each split personality is unaware of the others existence. The hidden woman calls herself 'Detta Walker.

The love of Eddie Dean (a major character in the ongoing series) makes the two personalities of Odetta and Detta to acknowledge each other and merge as one into Susannah Dean. As the two personalities compensate each other Susannah becomes a stronger and better woman.

Mary (Roadwork)
Mary marries Barton George Dawes after the couple discover she's pregnant with his child. She later suffers a miscarriage. She births another child by the same man, named Charlie but he dies of brain cancer a few years after. Mary's marriage takes a turn after this incident both parents unwilling to let go and come to terms with their situation.

Mary rarely smiles much after that. Even Dawes (husband) notes this fact. She might as well have been a zombie. With the marriage strained to breaking point, Dawes sabotaging of his company's purchase of a new facility was the icing on the cake. Mary leaves her husband and home for her parents'.

Cynthia Smith (Desperation)
The female hitchhiker who got picked up by a writer's roadie and got herself into a situation where she would have to fight for her sanity and her very life.

Cynthia left home at age seventeen and spent most of her time as a drifter. She finally settled down with a guy who pretended to be clean. He got hooked on crystal meth and beat up on her. She left him for a shelter. She told the roadie, Steve Ames that she had every reason to be careful of guys; one had nearly torn off her left ear and another had broken her nose not so long ago.

She was returning home to her father (a retired preacher) and her mother.

Elizabeth Eastlake (Duma Key)
The evil in the story uses Elizabeth's young mind and talent to get back into this world from the depths of the ocean and then unleashes terror on her family. With Liz's help, the evil spirit (called Persephone) is trapped in a jar of freshwater where her powers are weakened. 

Suffering from Alzheimer's and in her 80s, Liz is the one who 'senses' Persephone is regaining her powers in the pit where the jar is buried. She is struck dead at an art exhibition hosted by the MC, by two damned souls who appear in the image of her dead twins sisters. But not before she gives clues on how to destroy the wicked entity controlling the Key.

Jessie Burlingame (Gerald's Game)
To reinvigorate their tame and lame sex life, Jessie's husband, an otherwise successful lawyer devices a plan; handcuff Jessie to the bedpost and then initiate the act.

Jessie threw away her personal dreams to get married to Gerald for his money which should account for the mentioned lax in their sex life. The experience in the cabin lodge awakens a suppressed painful childhood memory. Jessie was sexually abused by her father when she was only ten. Jessie is almost a direct opposite of Mattie Devore from Bag of Bones. The death of Gerald (her husband) in the cabin is a kind of revenge on her father and Jessie is ready to start her life all over again(?)

Lisey Landon (Lisey's Story)
Lisey is stalked by psycho fans of her dead husband for the deceased manuscripts. One peculiar case is a guy who mutilates her to make her surrender her husband's literary property.

She faces the odds head on to keep the warmth of their love going. Despite her husband's family's dirty past; Scott Landon's father killed his son and Scott had to kill his father to contain an incurable insanity that was gaining on him. She is dedicated to the memory of her late husband a famous and successful novelist. Scott has a special ability, the power to transport himself to another world. Eventually, Lisey inherits this gift and with it saves herself from the maniacs who stalk her.

Mattie Devore (Bag of Bones)
Mattie is a twenty-one-year-old, widowed mother of a little girl. She is involved in a custody battle with her billionaire father-in-law. Despite the strange circumstances in which we find Mattie, she's never had one sleepless night over her dilemma. She is unbelievably optimistic and fond of Kyra, her daughter.

Another great quality of Mattie's is her self-reliance which is initially put to the test when Max Devore (her father-in-law) offers to pay her off for custody of Kyra. Mattie refuses instantly. Secondly, after she is fired from work, a direct follow up of her custody battle  with Max Devore, Mike Noonan has to force Mattie to take his money. She is killed in a drive-by shooting after the end of the custody battle.


From widows (Lisey Landon) confronting the dark night to married women (Jessie Burlingame) battling their husbands/lovers and then pan to single women (Annie Wilkes) who lust for independence. Does Stephen King follow a set pattern when creating his female characters or are these mere coincidences? You decide. Check what happens to the couples in these stories: The Dark Half (the details are in the first pages of The Sun Dog); Secret Window; Dolores Claiborne; The Langoliers and so on.

Keep your pen bleeding.



Akpan






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Thursday, October 28, 2010

Off The Edge


A writer is a man who has taught his mind to misbehave. Stephen King

It's like coming off the end of one dream to settle into another spin of reverie. We are alive in the very roles we write. We grow one page at a time. And the qualities, which define us tows the same line and bonds with our stories to create distinct and unique universes. In time, the line between what we know is real and what we know only exists in the annals of our imagination blurs.

After a little bit, you tune into the shifts between the real and the conceived. And right there with the sunlight way over your head, you trance out. You wake into your fantasies and dream your wildest realities. Yeah, that's what you get for thinking too much.

We come into that place full of beginnings and endings and everything in between. And here's the amazing thang, this is no schizophrenic stuff. Oh no, but the invention of the strictest form of self discipline. It's like walking into a tangle of live high tension wires. You are standing off the wall and experiencing the best of two worlds. Maybe I ought to let King help me out,

Write enough stories and every shadow on the floor looks like a footprint, every line in the dirt like a secret message.

Deep in the storehouse of our psyches is another realm, vivid and inhabitable. A universe existing contemporaneously, side by side with what we know as the real world. Within its envelope of air are beings, peculiar, cultured or criminal minded, (your choice) all working to fulfill a dynamic plan and as alive as we are in our own existence. As real as you and I. On the insides of all of us, in the crypts of our hearts, sealed behind a vault bearing these inscriptions, "Come write in!"

The longer we fuss over the pages of our journals, the deeper our drives drag us into our fictional worlds, the closer we get to glimpsing the diminishing line. If we can cross that line from this realm into a world of our own making we would have scored a hat trick. Gained access to a ledge of endless bouts of inspiration.

First, we must train our senses to be so tuned up that we see reality in the imagined and visualize our imaginations working the scenes, lighting up reality like a glittering hieroglyph for,

A writer is a man who has taught his mind to misbehave.


Eneh

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