So, You Wanna be a Fantasy Writer? - April 2002

• Fantasy eh? What is Fantasy? What defines it?

Arthur C. Clarke once defined the difference between Science Fiction and Fantasy by saying: "Science Fiction is a representation of what could happen... Fantasy is what we wish could happen."

What he meant by this is that SF addresses a more pragmatic part of our consciousness, whereas Fantasy speaks directly to our emotions. Of course, Clarke, as a Science Fiction writer did not mean this as a vote of confidence for Fantasy but perhaps more of a justification of his own genre. However, he was exactly right; Fantasy does not only take some of its material - icons, imagery and morality - from early, deeply ingrained Myth and Legend, but in fact is the modern extension of these pure, traditional forms of story-telling. It is one of the most difficult genres to write in mainly because of the challenge of finding a new focus for something which is as old as civilization...

...BTW, if anyone has any ideas about writing fantasy to become a household name, forget it! Choose another genre, fantasy is ignored and patronised by mainstream literati - but I'll resist the temptation to climb onto my soapbox on the subject...

So, fantasy is a pure form. An idealised world of imagination...

• What are the essential ingredients of Fantasy then?

Heroes - Heroes are perhaps more consciously identified within the Fantasy genre than any other. This is partly due to the popular misconception that fantasy heroes all have great big swords and the publishers' love of putting said hero on the jacket waving the sword - usually with a scantily clad woman clutching at his ankles like a persistent Jack Russell terrier... In the early, extremely sexist days, a hero was quite simply defined as someone who went around saving people from danger, death or demons. He didn't do a lot of introspection and was incapable of saying 'no' when a beautiful woman threw herself at him (like you do?!)

Perhaps the most telling reflection in changes in society; the hero has become less of a cipher, more of a real person - in fact, if we really think about it, often today's heroes can be identified by their overcoming of some deep rooted fear or difficulty in their lives, more accurately reflecting perceptions of what is truly 'heroic' in the modern age. But hey - for me, heroes still have to look good and possibly decapitate a few monsters along the way!

Magic - Almost all fantasy contains magic in some form. Fantasy writers often show magic wrapped in quasi-religious trappings and this is because, in terms of telling a story, magic fulfils a similar role to religion - it generates an aura of enigmatic mystery. People who possess magic are usually those in power in the story and usually, they misuse this power. Often, the 'hero' figure may be learning some magic, approaching the level of power of his superiors; then, the learning of this craft may be used as a device to show the development of his character, from weak to strong, approaching the mysteries of magic. Most importantly, magic helps to generate the all important SOW (Sense of Wonder) without which, fantasy is just medieval people with swords.

Oh, a word of warning about magic; familiarity lessens it's impact. If everything was cheap, there be no bargains would there?

Myth and Morality - As I mentioned earlier, fantasy is inextricably linked with mythology and legend. It's a great, big melting pot which has taken thousands of years and hundreds of cultures to make. We borrow monsters, Gods, times, places... that is not to say there is no room for originality in fantasy, there is plenty of room, but everyone, no matter how avante guard they consider themselves tells a story which in some way is influenced by what has gone before. There is no shame in standing on the shoulders of giants, as long as we give something back which is, uniquely, from us. That is what the act of creativity entails.

Rather quaint as it may sound, fantasy is an almost uniquely moral genre and that is the way readers like it. In the last while, writers have experimented with blurring the distinctions between good and evil, showing that normal, honest men are capable of dire acts in certain circumstances and also, that the 'big baddie' wasn't always bad - perhaps tragedy made him that way... this 'blurring' makes the reader think more deeply about the characters and perhaps, consider some point the writer might be making (hopefully in a subtle way!) It's a difficult thing to achieve, certainly not something I have mastered myself - my baddies always turn out rather more well, bad, and erm... rather sexy... I don't even want to think about what Freud would make of that!

Alternate Worlds - Fantasy usually happens in some kind of alternate world. Some people find the activity of defining this world enjoyable and gratifying - personally, I find it gets in the way of the story to start worrying about xxxxxx's gravity and how many days there are in the year etc - but it's purely a matter of taste. Be warned that while a map may prove useful at the writing stage, to see how many days journey are between A & B, many readers groan inwardly on seeing such a map on the first page of the book. World building is fun, but don't let it distract you.

Let's talk about sex shall we?! - Okay, I admit, I only put this bit in to check you were still paying attention! This point largely hinges on the previous point about morality. Are we 'allowed' to have sex in fantasy?! We are - hurray! But, rather like in life really, we don't go around talking about it in explicit terms. Sex is an idealised thing, usually in the context of an idealised relationship, in love actually - aaah! So, when the hero and the heroine finally get around to it, we don't want the explicit gory details (unless of course, it's your forté and you're extremely good at describing love-making - in which case, perhaps another genre might be for you anyway!) A rather genteel 'cut to waves crashing on a beach' approach is usually called for!

• So, why choose to write fantasy then?

Well, I could get all intellectual about this, because I do sincerely believe that fantasy has a lot to say about the human condition; more than many other genres (you know who you are, Mills and Boons!) But just remember that when early men and women were huddled in caves around their fires they told one another stories in order to forget they were afraid, to understand a dark and threatening world and to convey emotions and ideas which they were hardly able to express with primitive intellect and language. All good reasons to spin a yarn or two... from these stories came mythology and from there, fantasy - as valid today as ever.

Oh, and don't forget, writing fantasy is sheer joy!

Suggested Reading for New Fantasy Authors

If you want to write fantasy, you gotta read fantasy! This list is intended for anyone who's interested in maybe giving fantasy a go but unsure where to start...

Lord of the Rings - JRR Tolkien: Yeah, I know, you knew I was going to say that! All I can say in my defence is, it's a classic - and where have you been? Seriously, it's heavy going and, IMHO some of the characterisation leaves a bit to be desired! (Oh no! Blasphemy!) Not only that, but fantasy writers live in abject fear of being compared to him for the first ten years of their careers. Having said that, JRR could have taught Slartibartfast a thing or two about World Building...

"Who's Slartibartfast?"

I despair...!

Mists of Avalon - Marion Zimmer Bradley: Sadly MJZ passed away last year [1999] having only just finished her Arthurian epic. However, don't feel you need to read them all, this was not written with the intention of continuing (amazing what a big fat cheque can persuade one to!) Mists of Avalon is the finest Arthurian novel I've ever read - it is simply the basic Arthurian story as told by the women involved: Guinevere, Morgaine and Nimue. Powerful stuff.

Small Gods - Terry Pratchett: One should never, ever dismiss TP out of misguided literary snobbery - popular is sometimes good. In this case, popular is sublimely funny and also meaningful and poignant. The story is about how faith and religion are not always mutually inclusive, and true belief is rare. Laugh and think at the same time...

Espadair Street - Iain Banks: Notice the missing 'M?' Banksie also writes SF and includes the 'M' to indicate that a book is SF. (Usually, the big space ship on the cover kinda gives it away as well!) Strange then, that a Fantasy writer should choose this, one of his 'mainstream' novels? No, not really. The dialogue is this book is a sheer delight. Listen to it. It's completely natural. The story is a 'rock biopic' told in retrospect by a burned out pop star. It's funny, moving, tragic... an all time favourite of mine.

Morningstar - David Gemmell: A brilliant examination of heroism and people's perceptions of heroism. The anti-hero, Jarek Mace (yes, it is a pun on Morningstar) is in fact a coward and a thief - rather in the tradition of Flashman - but events and destiny make him a hero who ultimately redeems himself. DG is a master of characterisation and Jarek and the minstrel Owen Odell are two of his finest. If you enjoy this first sample of DG, look out for Echoes of the Great Song or Dark Moon - two of my faves.

Some practical information...

The Writer's Journey - Christopher Vogler: A rather double-edged sword, reducing the art of story-telling into a kind of 'template.' However, undeniably true in its assessment of the components of classic story structure. This is derived from (and much more readable than) Joseph Campbell's, The Eternal Champion which George Lucas famously studied before drafting Star Wars. This latter to be read in case of insomnia!

Writer's Resources on the Web

British Fantasy Society - www.britishfantasysociety.org.uk

British Science Fiction Association - www.bsfa.co.uk

Outland Online - www.ottakars.co.uk/Internet/outland

Science Fiction Writers of America - not exactly local, but check out their terrific articles written by experienced and respected 'names' - www.sfwa.org

Hope some of this is useful!

Enjoy!

© Miller Lau 2000

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