Hints and Tips on How to Edit Fantasy Novels

Words To Avoid

The successful Fantasy author needs to know the words to avoid and how to find adequate replacements. Here are some hints and tips to help the writer when polishing their Fantasy novel.

Creative writers always try to avoid adverbs. Adverbs usually end in ‘ly’ and are words that add meaning to a verb.

Example:

Walk slowly. Run quickly. Speak softly. Gently touch. Shout loudly.

Comment:

There are better ways to say the same thing. Find stronger verbs to replace these.

Better:

Stroll. Sprint. Whisper. Caress. Yell.

Resist the temptation to add adverbs to dialogue tags. Beware of saying things twice.

Example:

He snarled angrily. She whispered softly. He yawned sleepily.

Comment:

Note how the adverb isn’t needed.

Snarl demonstrates anger. The adverb isn’t needed.

She whispered softly. Whispered indicates softly spoken.

He yawned sleepily. Yawned is indicative of being tired.

Other Words to Avoid

Had. That. Up. Down. Really. Almost. Just. So.

These words are used without thought, but often do little to improve a sentence. When a Fantasy author is polishing their manuscript, they should go through and remove any case where these words are unnecessary.

‘Had’ places the action in the past. ‘That’ is often unnecessary. To bring immediacy to their writing a Fantasy authors will strive to keep action and interest in the present.

Up and down are often added when not needed. Really, unless in dialogue is unnecessary. Almost, again is not acceptable unless in dialogue, since the narrator should know things. ‘Almost’ is indecisive and will frustrate the reader. He was almost as tall. He’s shorter. She could almost see… again she couldn’t see.

Just and so are just so superfluous.

Example:

The damsel had watched the villain leap up onto the horse that had been tied up to the hitching rail outside the tavern.

The damsel was really frightened, watching the fire that almost burned the tavern down. She thought it was just so lucky no one that had been in the inn was hurt.

Comment:

This is a bit obvious, but the idea is clear. Remove all the words that should be avoided. See how to improve poor writing by culling words we tend to ignore as we write.

Better:

The damsel watched the villain leap onto the horse tied to the hitching rail outside the tavern.

The damsel was frightened, watching the fire burn the tavern. She thought it was lucky no one in the inn was hurt.

Comment:

Another cull and sentence rewrite can improve this example.

Example:

The damsel watched the villain leap onto the horse tied outside the tavern.

As the tavern burned, she shook with fright. Relief washed over her when no one in the inn was hurt. Her thudding heart quieted and trembling limbs stilled.

Comment:

This example has tried to ‘show’ the reader how she felt rather than ‘tell’ them.

‘She was frightened’, is telling. ‘She thought it was lucky’, is telling.

The words to avoid that will prevent the author falling into the ‘telling’ not ‘showing’ trap are: felt, thought, saw, and was.

The Fantasy author, when writing in third limited omniscient should try to ‘see’ action and gauge emotions in characters and scenes from what their main character can see and understand. They will use gestures and mannerisms, as well as dialogue to give the reader insight.

Try this exercise yourself. Have a list of words you want to avoid and keep adding to it as you master the craft of writing. Soon they will disappear from your manuscript and your writing will become stronger, compelling and more attractive to your readers and prospective publishers.

Hints and Tips on Fantasy Writing.

Words To Avoid

The successful Fantasy author needs to know the words to avoid and how to find adequate replacements. Here are some hints and tips to help the writer when polishing their Fantasy novel.

Creative writers always try to avoid adverbs. Adverbs usually end in ‘ly’ and are words that add meaning to a verb.

Example:

Walk slowly. Run quickly. Speak softly. Gently touch. Shout loudly.

Comment:

There are better ways to say the same thing. Find stronger verbs to replace these.

Better:

Stroll. Sprint. Whisper. Caress. Yell.

Resist the temptation to add adverbs to dialogue tags. Beware of saying things twice.

Example:

He snarled angrily. She whispered softly. He yawned sleepily.

Comment:

Note how the adverb isn’t needed.

Snarl demonstrates anger. The adverb isn’t needed.

She whispered softly. Whispered indicates softly spoken.

He yawned sleepily. Yawned is indicative of being tired.

Other Words to Avoid

Had. That. Up. Down. Really. Almost. Just. So.

These words are used without thought, but often do little to improve a sentence. When a Fantasy author is polishing their manuscript, they should go through and remove any case where these words are unnecessary.

‘Had’ places the action in the past. ‘That’ is often unnecessary. To bring immediacy to their writing a Fantasy authors will strive to keep action and interest in the present.

Up and down are often added when not needed. Really, unless in dialogue is unnecessary. Almost, again is not acceptable unless in dialogue, since the narrator should know things. ‘Almost’ is indecisive and will frustrate the reader. He was almost as tall. He’s shorter. She could almost see… again she couldn’t see.

Just and so are just so superfluous.

Example:

The damsel had watched the villain leap up onto the horse that had been tied up to the hitching rail outside the tavern.

The damsel was really frightened, watching the fire that almost burned the tavern down. She thought it was just so lucky no one that had been in the inn was hurt.

Comment:

This is a bit obvious, but the idea is clear. Remove all the words that should be avoided. See how to improve poor writing by culling words we tend to ignore as we write.

Better:

The damsel watched the villain leap onto the horse tied to the hitching rail outside the tavern.

The damsel was frightened, watching the fire burn the tavern. She thought it was lucky no one in the inn was hurt.

Comment:

Another cull and sentence rewrite can improve this example.

Example:

The damsel watched the villain leap onto the horse tied outside the tavern.

As the tavern burned, she shook with fright. Relief washed over her when no one in the inn was hurt. Her thudding heart quieted and trembling limbs stilled.

Comment:

This example has tried to ‘show’ the reader how she felt rather than ‘tell’ them.

‘She was frightened’, is telling. ‘She thought it was lucky’, is telling.

The words to avoid that will prevent the author falling into the ‘telling’ not ‘showing’ trap are: felt, thought, saw, and was.

The Fantasy author, when writing in third limited omniscient should try to ‘see’ action and gauge emotions in characters and scenes from what their main character can see and understand. They will use gestures and mannerisms, as well as dialogue to give the reader insight.

Try this exercise yourself. Have a list of words you want to avoid and keep adding to it as you master the craft of writing. Soon they will disappear from your manuscript and your writing will become stronger, compelling and more attractive to a publisher.

Hints and Tips on How to Edit Fantasy Novels

When it is time to edit. Once you have penned your manuscript, leave the novel to age for a few weeks, or months. Then take the time to polish your work before pursuing publishers. This isn’t the signal to panic, but to take a deep breath and find time to spend going over your story. Even more than when you are writing, you will need a Do Not Disturb sign. (A lesson learnt from experience.) Go back over the plot. Does the novel follow the Fantasy Plot Arc? The basic Arc is when your Hero embarks on his quest, faces antagonists, develops through conflict, prevails in a climax and loose ends are tied to the satisfaction of your reader in the denouement. As you read, can you count five instances where the plot is propelled forward? If not consider omitting scenes that deviate from the plot. Grammar. While re reading, have a list of things to look for to improve your writing. For instance, you should know by now the various words to avoid. Check and correct the overuse of adverbs, adjectives, passive voice, telling not showing, clichés, repetitive words and phrases, or altered POV. Commas. Find the rules for your region. They differ from country to country and cause a great deal of confusion. Once you have the rules for your region, or the region of the publisher and readers of your target audience, apply them throughout your work. Read your work aloud. Does every sentence flow? Print out your manuscript once you feel it is polished and re read it. Everything looks different in print. Then go over it again on the computer. If possible, seek the help of other readers, writers. Have them review your work and look for plot flaws or grammatical errors.

Fantasy Writing: Creative Writing Exercise Seven

Exercise Seven. Immediacy; bringing your reader into the action. Whenever you write, your aim is to keep the reader riveted, forcing them to turn the next page. So compare these sentences.

The cavern shook. Caleath fell and was blinded by the light. The smell was so bad he felt ill. Clutching the sword, he waited till the shock passed. The cavern shook. A pulse of energy knocked Caleath to the ground. Noise, so loud his ears bled, battered his senses. Intense light seared through eyelids though he covered his face with his arm. The smell of molten gold, of death and corruption made him want to vomit. With his hands clutching the sword, he cowered until the initial shock passed. We want to show the reader what happened, give them an idea of how our hero feels. Consider how in this second example the writer has offered us more insight into the hero’s actions. We have information about what he sees, hears, tastes, smells and feels. Can you see how this involves the reader by drawing them into the scene? This has changed the Point of View from omniscient to limited character. Try writing a scene from different POV and see how an author can distance or involve their readers using this device. Remember to consider different senses as you write. Descriptions need not be as long as this example. They can be included as part of dialogue tags. (remember dialogue tags are , he said, she said.) Rather than:

“Magic caused the storm?” Caleath whispered thoughtfully. “Yeah.” He said with a frown. “You might be right.”

“Always,” Raul laughed. “Besides my young friend, you have seen the signs. You must know who our hero is. Why do you question his integrity?”

“He’s the smith?” The boy nodded and then scowled. “What signs?”

To involve the reader and add descriptions of actions and emotion, we take the point of view of the character and offer the reader samples of what ‘he’ experiences.

“Magic caused the storm?” Caleath spoke in a whisper as he eased his weight onto one elbow and accepted a bowl of stew from the youth. “Yeah.” He searched his memory analyzing the feeling the strange tempest instilled in him. “You might be right.”

“Always,” Raul laughed. “Besides my young friend, you have seen the signs. You must know who Caleath is. Why do you question his integrity?”

“He’s the smith?” The youth wiped thick gravy from the spoon and licked his finger. Caleath could feel the boy’s gaze bore through him as he chewed on a chunk of venison and forced himself to breathe. “What signs?” Try to add a little information at each opportunity, rather than paragraphs dedicated to descriptions alone, but don’t over do it. Remember to drive the plot forward. Always keep reading. Watch how people behave, speak and move. Do they have habits you can use for your characters? This will help to make your characters real and let the reader feel more a part of your writing.

__________________________

Making a Video Book Trailer.

After spending dawn on the beach the other morning taking photos that might work with my Fantasy novel, I have been working with the movie making tool on my computer. My aim is to put together a book trailer for my forthcoming Fantasy novel.

In a few weeks I hope to have a morning photo shoot, with one of our local mediaeval group. I want to know what to ask for, what will work, what wont.

This week is just a trial run, but I have had so much fun putting a story board together. Timing and effects, fonts and words have all been juggled and finally I had something I could SAVE. It's not brilliant. BUT, I have actually created a short piece and posted it on Bebo.

Now I feel I can do justice to the effort of my mediaeval model, when he is available. This is so much fun.

Exiled: Autumn's Peril Character Interview

I wondered if an interview with Caleath, the hero of the forthcoming Fantasy ‘Exiled: Autumn’s Peril by Rosalie Skinner might be interesting.

The novel is set on the planet of where Caleath has been surviving in exile. This is a planet where nano-technology is considered magic, while magic is considered commonplace and doesn’t involve microchips or gene enhancement.

Unfortunately, Caleath is unavailable at this time. He is nothing if not reclusive. Perhaps later he will reconsider and talk to us. In the meantime, we have managed to make contact with Nasith, the female lead character from the novel.

Interviewer: Nasith, thank you for taking time to talk with us.

Nasith: Hello. Are you a disembodied spirit or another of Caleath’s alien artifacts? He’s no longer with us. South. He rode south. Alone.

Interviewer: Easiest answer would be ‘an artifact’. Nasith, you sound disappointed that Caleath left, yet he took you as a hostage. Would you tell us a little about your experience?

Nasith: I have time on my hands. For once, we are warm and reasonably safe. What would you like to know?

Interviewer: First impressions are always interesting. What did you make of being abducted on your way to Sharyac’s Tor?

Nasith: (sighs) Seems like a lifetime ago. So much has changed since then.

Interviewer: The same peril still threatens the south.

Nasith: I guess I mean the way I feel about Caleath. That night I tried to kill him. He’s not easy to kill but I wonder now if my heart was in it. One of the men I traveled with was trying to kill him. I was not.

Interviewer: You tried to kill him? That’s not surprising given the circumstances.

Nasith: Before he grabbed me and threw me across the shoulder of his horse I had no dealings with Caleath, but I knew of his plight. If asked at the time I would have said I felt pity for the man. The men who hunted him were driven by dark magic. I had no reason to want to see him hurt, until he used me as a human shield. He bruised my ego, rumpled my pride, nothing else. Now I realize I overreacted, but then it was a dark and desperate night. I felt justified in my actions. Later I came to regret them.

I am rambling. Being clean and able to relax, it’s such a pleasure. What was the question?

Interviewer: We are interested in your first impressions of Caleath. Wanting to hurt him seems natural, since he abducted you.

Nasith: The assassin hunting Caleath gave him little scope for niceties. He took a hostage, me, rather than having to kill the man. I didn’t know that at the time. Then I was afraid. He seemed so angry, frighteningly confident despite being hurt, and somehow vulnerable at the same time. He’s still confusing, but he doesn’t frighten me anymore.

Interviewer: When did your impression begin to change?

Nasith: It was only later, when I managed to get him to talk that I discovered more about him. He actually took good care of me. Despite the hurt I caused. When we faced danger he would protect me, leaving himself vulnerable rather than risk my safety. I was his hostage for only a short time. When he discovered who I was, I believe he saw my presence as a burden but he accepted responsibility even though he says he doesn’t belong on this world.

Interviewer: You knew from the start that he was from another world?

Nasith: The assassin spoke freely about his origins. Only Caleath seemed to find his past a painful topic. Revenge drove him, and the need to escape from this planet. The things he has done, to survive, to escape. I find myself wondering if I know him at all. He confuses me, even now. I miss him and long for his touch one moment and want him out of my life the next. How odd is that!

Interviewer: What does the future hold?

Nasith: Our immediate future is blighted by the looming threat from the south. Here in Sharyac’s Tor we hope to arrange an alliance to combat this unnatural menace. Or do you mean a future that involves Caleath?

Interviewer: I was thinking more along the lines of a relationship between you and Caleath.

Nasith: Some moments I dream of nothing else. As I said, in his arms I feel safe. Looking into his eyes, they are as changeable as the ocean, I am afraid of drowning. I have spent too many hours watching him wondering what makes him do the things he does. The way he moves, it’s almost poetry. A lethal sort of poetry, it’s like watching a predatory cat and it is as compelling. And yet, he has the ability to make me feel extraordinarily special and more sensual than I believed possible. He is considerate, strong, has a depth of compassion I have never seen before. His touch is electric. (sighs) Then I find myself despising him and the lengths he has gone to, the long-term threat of invasion he has created, and I tell myself I am glad he is a dead man walking.

Interviewer: Dead man walking? That’s an odd term for someone who is hard to kill?

Nasith: He took me hostage. My people will see that there is retribution. It does not matter that he took care of me, or that I chose to accompany him in the end. My abduction is unforgivable. He will pay with his life. I cannot let myself become involved. Do you think me heartless?

Interviewer: It is not for me to judge.

Nasith: There, now you sound like him. I think we have spoken long enough. Good night.

(transmission ends)

Become a Fan of Exiled: Autumn's Peril

Contact Rosalie Skinner Join her Forum or Post Work in her WRITER'S SHOWCASE

Ginger's Mega Blog Fest

Thanks for dropping by.

This week Ginger from http://mizging.blogspot.com/ is hosting a Blog Fest, to which we have been invited. Please take a moment to check it out.

As a Fantasy author, it feels a little strange, (to be sure, to be sure) but then, romance does seep into almost every story. It’s an underlying trait that cannot be overlooked in any novel. So let’s see where we get to when we ask Caleath to talk to us on a Romance Blog site.

Lady Rosalie

The author of Exiled: The Chronicles of Caleath. To be released by Museitup Publishing in 2011.

WARNING: Exiled: Autumn’s Peril is not a Romance novel. The words ‘handsome’, ‘beautiful’, ‘true-love’ or ‘marriage’ do not appear in this Fantasy novel. Not even once. Sorry. Still, on good authority, I have heard it is a darn good novel and most of my female readers have a crush on the hero before the end of the third chapter. Not exactly what I planned, but hey, I am not complaining.

When a Character takes over

Ever had one of those days when your characters take over and interfere with exactly how your plot or scene WAS going to work out?

Does that mean that the character has 'come to life'? It sure messes up the neat and tidy plot arc and story line I was working through.

Still, it's a lot of fun and when the character reveals their motivations. Writing their story becomes so much easier. What do you think?

 

Tags: writetomyblog, atuo+fill, api

Fantasy Writing: How to get started

The Basics…

When writing a fantasy novel, the writer needs to remember there is a structure to follow. We refer to the flow of the storyline as the ‘plot arc’. In a fantasy novel, as in all novels, following the ‘arc’ is imperative to creating a novel readers will devour.

For Fantasy writers, there is the thrill of creating not only the characters, but also the landscape where the action will take place. Often the hero/heroine will arrive from an ordinary world into a fantastic world, journey through their quest and return to their home world. It is the journey and the experiences the hero endures that will provide the interest and focus of the tale. How the hero interacts and grows while traversing unfamiliar landscapes, meeting fantastic creatures, and coping with the inevitable crisis, is the Fantasy writer’s task to tell. The hero’s growth and character development will form the backbone of the novel. The depth and richness of the world and characters created are limited only by the author’s imagination.

In the fantasy novel the hero is on a quest. Motivation comes from their need to vanquish great evil, save the world, find sanctuary or rescue the innocent. Their journey is littered with setbacks and constant challenges.

The antagonist or antagonists must be believable and offer a challenge the reader can identify, even if from another world. The reader must be able to relate to the threat.

There are certain ways, in which the author can learn how to create vivid characters, weave strong back-stories and map a plot that will keep the reader hooked till the very last sentence.

This genre gives the author scope to explore their creative side. Here they can discover new means of transport, rules of magic, colourful cultures or if they choose they can transpose normality into a fantastic landscape.

Creating Characters for Fantasy

The importance of creating characters that a reader can identify with and feel compassion or empathy for is pivotal to writing a successful Fantasy novel.

Despite fantastic landscapes and a supporting cast of unusual characters and creatures, the main character must be real enough to meet the reader’s needs.

To create a character for Fantasy, the writer must know them intimately.

Especially when writing in first person or third person limited omniscient, character driven knowing the character is vital. Here are some guideline questions the author should know about their character. Even if they are never mentioned in the novel, knowing background information gives the author a basis to anticipate a character’s reaction to conflict, personal contact, change and danger.

Character’s History

The author has to know where the hero and all the supporting cast have come from. Family traits, family tree, culture, community values, religious beliefs are all part of the makeup of each character. Consider if there was strife between siblings and were their parents happily married, divorced or deceased.

Has their upbringing been in a rural environment, suburban. Writing Fantasy, there is the opportunity to place characters in a society based in a feudal, primitive, hunter-gatherer, early domestic era or something totally new and inventive. The writer should take time to set the details of any culture they adopt in their minds. Consider how the community carries out ceremonies for marriage, birth, death, changing seasons, changing hierarchy or conflict. The Fantasy author must decide what levels of society the hero will interact with and how each level of society lives.

From the royal houses that seem an inevitable part of Fantasy, the author can create a wealth of riches in clothing styles, architecture, mode of transport, economics, cuisine, defense and culture. To contrast this there is always the lower stations that add color to the fantasy novel. The lifestyle of the soldiers, outlaws, beggars, peasants, tradesmen and commoners can give depth to a tale.

Things to Do

Create a heroic character or supporting character and create their background.

Know the answers to the following questions.

How old are they? Do they have siblings? Are both parents alive? When did they first fall in love and out of love? Are they romantic, cynical, succumb to peer pressure or are they disruptive and outspoken?

If parents or siblings have passed on: when and what circumstances led to their demise.

Who is the character’s best friend, favourite teacher and favourite pastime?

What are their interests, dislikes, fears and dreams? Do they have phobias, disabilities, twitches, scars mental or physical, talents or flaws?

How do they see themselves within their society? How does their society see them? What do they believe in? Do they accept their station in life?

How will they cope with being drawn into a quest?

BACKSTORY

The back story in a Fantasy novel can give depth to an epic tale. Each Fantasy author should know in detail the background of each landscape they create.

It is not only the characters, created to people the Fantasy world that need a history, the author should create the landscape from the ground upwards.

Geography, topography, flora fauna, climate and seasons need to be defined, within the author’s mind. Although they may not be mentioned as such in the epic saga, these concepts will help sculpt the terrain through which the characters move and interact. From the origins of the dirt, to the star systems above, the phases of the moon and the passing seasons, the author must manage the calendar as they write.

The histories of the people of the world need to be considered. The successful Fantasy author will ‘know’ the reasons for specific cultures, particular deities, and conflict between countries, states, or villages. They will ‘know’ of any tyrants, biological threats, plague, storms that have affected the culture and progress of their world.

Economics, access to trade, education, mining, and industry must be considered if the author wants to create a world that readers can experience. The Fantasy author need only have an idea of these concepts but being able to refer to such things while writing, adds another dimension to their writing.

Once the world exists in the author’s mind, they can move closer, as if ‘zooming in’ on the action.

Introducing ‘back story’ in a fantasy is a skill the successful author must learn. IF the author has the information clear in their own mind, it is not always necessary to relate it in depth for their readers. Small snippets of detail can be used in dialogue, internal monologue, or narration. This can give enough description without becoming boring, detracting from the action or, more importantly they don’t become an ‘information’ dump’.

Example:

“Tonight is the Feast of Beloved Brothers.” Derran cast his mind back to the legend that elders told through the long winter nights. The tale told of the brothers who fought off the fiends in the wilds around Wherever, to save the people of the small hamlet from certain death. Then people thought the Longest Winter would never end.

Around Derran faces paled as memories roused. All those gathered around the table knew the fiends became active again as winter deepened and game became scarce. “Gather one and all and let us give thanks.”

Comment:

If the information is not vital to the story, leave it out. The reader doesn’t need to know the whole story, just the vital bits. The ‘what’ and the ‘why’, rather than the ‘what came before’. See how the next example gives the same information without the ‘info dump’.

Better:

“Tonight we celebrate the Feast of the Beloved Brothers and remember their heroism.” Derran glanced around the table. Faces paled knowing that as winter deepened and game grew scarce, the fiends the brothers drove off, again threatened the village. “Gather one and all and let us give thanks.”

Once the world exists in the author’s mind, they can move closer, as if ‘zooming in’ on the action.

Creating a Fantasy world.

Decide how long each day, season and year lasts. What class is the rock below the ground? Is it one readers would recognize? e.g. limestone, granite, sandstone.

What type of trees, crops and herbivores can the people cultivate or hunt? What threats do they face?

How advanced is their economy, architecture, steel making, medicinal knowledge? Do they have a monarchy, autocracy, or democracy?

If there are countries at war, why? Is peace possible?

What else can you provide as historical reference material for your unique world?

Keep this information handy, to use for reference as you write.