The bad and good of Portraying Violence in Fiction

When writing my fantasy novels it is frequent to encounter (you guessed it) violence. Targeting my books to the middle grade and young adult readers this is of great concern to me. I don’t want to wash over the violence but I don’t want to glorify it in the eyes of the reader either.

Consider that violence is sometimes necessary to convey the cost of wrongs done. I think of how the Bible narrative is full of violence. Violence wrought by the good, the evil, and by God himself. Blood spilled, sacrifices of life and limb made. But this violence is not glorified, instead its purpose is shown. Whether the will of God to wipe a degenerate nation from the face of the earth, or allowing the Babylonians to conquer and enslave the Jews.

Too often contemporary fiction glorifies the violence by turning it into entertainment. Entertainment, whether in the form of a book or a movie, can and should display violence as a means to an end. A lesson must always be understood, subtly taught, so that the reader comprehends the relational and eternal consequences of such actions. Unless this is done the reader, and especially young minds, can follow the violence itself as an entertainment and subconsciously accept it as an end of its own.

In properly thought out books the reader will learn to respect certain actions and despise others. They should be able to picture themselves as the knight riding into battle and ramming his lance into the heart of a wicked tyrant. But on the same note they should also picture themselves looking with pity upon that tyrant’s corpse and wishing that another resolution might have been possible. We don’t need to glorify violence, but we don’t need to despise it either. It is admirable to slay the invader, save the fair maiden, and pray to God for mercy on those who have fallen.

It is admirable to wield the sword in battle… yet the greatest admiration should be given to the knight who knows when to show mercy to his enemy. The knight whose heart dreads violence and yet will not shy from vanquishing his foes when need be.

Question: How do you view violence in fiction?

What to do when a minor character shifts the spotlight

Some writers outline their novels and somehow they strictly stick to those outlines. However, when I outline I stick to it only roughly. The story ends up taking the lead… instead of the other way around. That is what happened recently when I was working to wrap up the final arc in The Phantom’s Blade.

Following events in Key of Living Fire, The Phantom’s Blade is predominantly Ilfedo’s story. The city of Dresdyn is heavy on his mind and he sets forth on an expedition to lead the people out of that underground world and bring them to his homeland. But as we know from the previous novel the captain of the city guard has been possessed by some kind of ghost being (or as Ilfedo calls it, a demon). The story should pivot around Ilfedo and the captain as Ilfedo seeks to stop his enslaving the people of Dresdyn.

But as I wrote this portion of the story a minor character introduced herself. Neither hero nor villain she grabbed the reins and steered the story in a different direction than I had intended. Some writers would have taken the reins back in order to stick to the outline. From experience though, I have learned that a minor character can enrich the story world. I let the minor character shift the spotlight and the result was a better story… Which I look forward to sharing with you when the book comes out this Fall. 🙂

My humble recommendation is that the writing allow the minor personalities shine, thus allowing the story to evolve in unexpected ways. The results have always surprised me in a good way.

Question: What do you think of this “Seat of the Pants” approach to writing?

How to not let subplots run amok in fantasy fiction

When writing a fantasy story much focus is given to world building and character development. This focus can greatly enrich the story world… though there is also a pitfall in it for those of us who write the story.

Characters come to life, landscapes take form, cultures are developed, costumes and customs are established. As you create a fantasy book or series you do not want to miss an opportunity to enhance the reader’s experience. This is a work of art. You want it to shine. All of this leads to an endless supply of subplots within the main story. It may be as simple as a secondary character who needs more personality in order to interact more realistically with the main characters in the story.

The wise writer files away an array of subplots. Histories of lands and biographical data on secondary and background characters, for example. But sometimes we get carried away by the ideas the subplots deliver and we let the story follow rabbit trails as we flesh out minor characters. Certainly there is validity in doing this when drafting fantasy novels, but it is imperative that we remember to focus the story on the main characters.

I was reminded of this recently while watching The Hobbit: The Battle of the Five Armies for the first time. Peter Jackson allowed the story to follow so many minor characters that, even though the movie had great moments, it lost its punch. Characters wept over fallen comrades, and I could not weep with them because I did not feel an affinity for their loss. I did not “know” their comrades well enough to miss them. If the movie had stuck to following a couple characters a more coherent story would have resulted and greater emotional attachment could have been achieved. Instead it followed a slew of characters and tried to make all of them equally important.

A subplot is fantastic for enriching a fantasy tale. If we are following our main character and they encounter a minor character, it benefits the story if that minor character is given a history. But where we must be careful is in not immersing ourselves in that minor character. The story must pull back to the main character so that the conflicts continue to be resolved in a coherent manner. A great example of this is in Harry Potter because J.K. Rowling always kept the story on Harry and varied from him only rarely to enhance certain plot elements.

Stay true to the main character. File away the majority of your subplots. Who knows? Maybe someday you will dig into those files and write an altogether separate novel to cover the subplot.

Question: What examples of good or bad use of subplots in fiction stand out to you?

Character Arc: Lessons Learned or Change Achieved? (Guest Post by Gillian Bronte Adams)

“To me, characters lie at the heart of any story. Characters drive what happens when and where, and the way they grow and change over the course of a story is what makes a book either memorable or easily forgotten in the already-read pile.

But it seems to me that in Christian fiction, we too often think of a character’s arc as the path they take to learn a lesson by the end of the book, rather than the change and growth achieved along the journey. We put the cart before the horse, and often fall into the trap of preaching a Sunday School lesson rather than telling a whopping good tale.

The problem with this is that it doesn’t feel real.

I don’t know about you, but in my life, I’ve made my share of mistakes, been through tough times, and learned from them. But those lessons were rarely tied up in a neat little bow. More often, they were like Eustace’s change in Lewis’s Voyage of the Dawn Treader, who “began to be a different boy” after he was un-dragonized.

We tend to muddle our way through life, changing, growing, and hopefully being shaped more into Christ’s image each step of the way.

Change rarely happens overnight in the big lessons learned. It is far better seen in the little moments, in the gradual slipping from one decision to the next.

I would venture to say that the purpose of Bilbo’s journey in The Hobbit was not to show how he could come home a different hobbit than the one who had set out. That was just a byproduct of the quest. Don’t get me wrong—change in a novel is important. It is a sign of growth and life, and if the character who walks offstage at the end of the novel is the same as the one who stepped onstage at the beginning, you probably have a problem.

But I believe the true heart of a story is less about teaching your character (and thus the audience) that A is wrong and they should become B instead, and more about showing your character wandering from A to B, changing and being affected by their decisions along the way.

Otherwise, you risk winding up with a story that feels like a collection of scenes and pithy statements contrived to teach your character, and by extension the reader, a lesson. Like old fairy tales where every story had a moral. “Be polite to strangers … or bad things could happen to you.”

In the end, character growth comes down to the old “show your story, don’t tell it” adage. Often when characters “learn a lesson,” what you’re really seeing is the author intruding into the novel to impose a sermon on the story. I’m not saying it can’t be done, or that there isn’t a time or place for it, but that’s when readers are more likely to complain that Christian fiction is preachy rather than impactful.

On the other hand, character change that naturally follows the course of events and is seen through actions rather than told through what has been “learned,” results in a much more vibrant story. A story that feels true rather than contrived. A story that may stick with the reader long after the last page has been turned.

What are some elements of character growth that you think encourage a story to be impactful without being preachy?

GILLIAN BRONTE ADAMS is a sword-wielding, horse-riding, coffee-loving speculative fiction author from the great state of Texas. During the day, she manages the equestrian program at a youth camp. But at night, she kicks off her boots and spurs, pulls out her trusty laptop, and transforms into a novelist. She is the author of Orphan’s Song, book one of the Songkeeper Chronicles, and Out of Darkness Rising. Visit Gillian online at her blog or Facebook page.

The Challenge of Writing Part-time

There have been a few seasons in my writing life when I could devote one hundred percent of my working time to writing. The challenge for me now has been that I have various commitments that vastly limit my creative and writing time. Here is a glimpse into the challenge I face.

This is not a challenge that I take lightly. Time to devote to writing equals greater productivity because my mind is not under the same pressure that it is now. When I get up in the morning I want to give attention to my three wonderful children and to my wife. I want to sit down with them for breakfast, read the Bible with them, pray with them, go over the kids letters, help teach the kids to read. Then I head off to my day job. I work full-time in sales for one of the largest furniture store chains in the country. It is a good job. It pays well. I work under a good management team, and with some great colleagues. This job requires different disciplines than my home life. I must maintain a working list of potential and past clients, and generate new business. This job puts food on the table and the roof over our heads, and more. But it also requires working every weekend and most holidays and is straight commission, which equals higher stress because every week I must put the same drive into it that I have done in the weeks previous.

When I get home I am usually a bit tired. Not physically, for the most part, but mentally. I want to devote evening time again to family (though a few evenings per week I don’t get home until late).

I do not say this to complain, but rather to show you the challenge of being a writer. It requires commitment and vision. For now I chip away at big writing projects that before would have taken me a mere matter of months to complete. Often my writing time is after everyone is in bed. I should be sleeping now because I am tired, but if I don’t write, the books will never be written… and I love to write them. The stories are always building in my mind, urging me to share them.

For now I write part-time, out of necessity. But I am scheming to return to writing fulltime. It will happen again. I have faith that God has given me this drive for a reason and when the time is right He will open the necessary doors. For now my energies are divided in several directions… and it slows the process. The primary thing is to not lose sight of the dream, never give up on the goal, and always take the writing commitment seriously.

Question: What are your challenges in pursuing your dream?

How to create original fantasy creatures

Among the interesting questions I have received from fantasy readers is the one regarding my process for creating and naming original fantasy creatures. Here is my little how-to on the process:

Take fascinating creatures from the real world and dissect them. Ask yourself: What do I find fascinating about these creatures? What abilities do they possess that inspire my imagination? Do their scales or their colors make them memorable? What parts of their bodies are interesting or unique?

Mash together elements from the creatures you’ve considered. You might do what I did by pulling in the head of an alligator, the feet of a dragon, the tail of a dinosaur, and then make six legs instead of four. The result was my first version of a Megatrath (so far my most popular creature). I felt that the head of the alligator gave the Megatrath a vicious demeanor, the length of its body allowed it to react with the speed of a snake, and the scales on its body armed it like a dragon. This was a creature I envisioned as a powerful adversary and a valuable ally.

Name the creature’s species. In the case of the Megatrath I wanted the name to convey brute strength, patience, arid terrain, and the largeness of its body. Mega for the size and strength, and trath combined trek (like a long journey) and wrath.

This is a simple system but it has worked very well in creating my fantasy worlds. Originality is key to producing a fantasy world that readers will remember, and one answer to that need is to craft original creatures. If you like dragons, gryphons, serpents, and the phoenix, then use them as well. But put them in a world populated by creatures new and strange.

Question: Does this process give you ideas for how to create your own fantasy creatures?

Announcing “The Phantom’s Blade”

Around ten years ago I wrote my first fantasy manuscript and titled it The Lord of Emperia and that story began to expand. I explored the origins of the various characters and developed a history for the storyworld that, simply put, became too complicated for a single volume. The Sword of the Dragon series was born. When I wrote the first novel I was forced to split it in two… Well, I’ve done it again!

In the original manuscript for The Sword of the Dragon series I did not have the character of Specter, nor did Ilfedo ever take a journey through the subterranean tunnels under the Resgerian desert. He never discovered the city of Dresdyn. But in my third novel Key of Living Fire I could not resist the many ideas for deepening the characters and relationships in the series. The result has been that the fourth novel In Search of Dragons was divided by two large story arcs that were both necessary to the series.

As I worked on writing the manuscript I came to realize that both stories deserve their own novel. So the result is that The Sword of the Dragon book four gains a new title The Phantom’s Blade and In Search of Dragons becomes book five. The up side to this outcome? There is more story for readers to enjoy and deeper character development.

Cover art for The Phantom’s Blade is under way and I am writing the final quarter of the manuscript. Looking to release this book Fall 2015.

Question: Are you looking forward to The Phantom’s Blade?

3 Elements of Creative Thinking

Often the best things in life cannot be forced into existence. It is not easy to think creatively. Sometimes the creation flows, bringing us endless smiles. Other times we are hanging on a thin rope over the edge of a black chasm, groping helplessly for that sliver of light that will bring our creativity back.

Creative thinking is composed of three key elements:

  1. Absorption
  2. Reflection
  3. Inspiration

We start by absorbing books, music, movies, conversations with friends, and activities with family. Thinking of ourselves as a large pool, absorption is the process of filling up with so many ideas or concepts that our creative reservoir reaches maximum potential.

With all the new ideas, considerations, and dilemmas flowing through our mind we are ready to sit back and reflect. Meditation frees the mind to examine how best to use our creativity. Process it before we move forward on a particular creative path, whether that be writing a blog post, drafting a novel, painting a picture. The possibilities of creativity are endless.

Inspiration at last kicks in. Our brain is overflowing with ideas. Some good and some not, yet we can move forward. The reservoir is full and ready to take pen to paper, plan to the drawing board, hands to the loom.

Question: What have you done to break into creative thinking?