Class Notes - Week Two

December 22, 2011
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cynthia ward, dialogue, nisi shawl, online workshop, terry bisson, writing good characters, writing the other

Man Playing the Guitar Upsidedown — People watching is one of the best ways to come up with new characters. Watch (and listen) to the people around you and jot the things they inspire down in a notebook.

We talked last week about story shapes and arcs as well as what gets set up in the beginning of a story. This week we talked about characters and dialogue, and how the first shapes the story. One of the points made was that a character is not something you stick in a slot of a story – the character shapes the entire story. For example, the story of someone encountering a werewolf is very different if your protagonist is a little old lady who hates dogs because they’re messy than if that protagonist is an emo-teen determined to become a werewolf in order to get revenge on someone that wronged them.

The main character usually changes in some way over the course of the story, but that change must feel organic and natural. You can set up a big change of mind with foreshadowing and having them change on some smaller matter, showing that such change is possible, so it doesn’t throw the reader out of the story when it occurs.

We discussed approaches to learning more about your characters. I recommended the book Writing The Other by Nisi Shawl and Cynthia Ward, which talks about writing characters who are a different sex, race, or class background than yourself. I also recommended people-watching and reading pop psychology (or even more sciencey stuff, which will provide all sorts of story ideas.

One of the quickest ways to turn an editor off is with improperly punctuated dialogue, so learn the rules and use them. We went over things like speech tags, how to punctuate internal dialogue, why you don’t need to come up with a bunch of synonyms for “said,” and how to make voices distinctive. I suggested that people watch the wonderful adaptation of Terry Bisson’s “They’re Made Out of Meat” – here is the original text, and here is the film made from it.

If you really want to focus on dialogue, read good plays, which are pure dialogue. If you want to write in a particular historical voice, one of the best ways is to read deeply in that period so you absorb it. Doing so may make you aware how much what we read and watch creeps into our writing – that’s one very good reason to read some high quality stuff now and again.

Enjoy this writing advice and want more like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

Prefer to opt for weekly interaction, advice, opportunities to ask questions, and access to the Chez Rambo Discord community and critique group? Check out Cat’s Patreon. Or sample her writing here.

One Response

Sarah E Olson (@saraheolson) says:

December 23, 2011 at 11:04 am

I’d like to recommend a blog that has helped me get into my characters’ minds: http://blog.liviablackburne.com/

Livia is a brain scientist and a writer, and she has some excellent posts on psychology topics related to writing. I especially liked a post she did on her husband, discussing how male friends relate to each other: http://blog.liviablackburne.com/2011/02/on-writing-realistic-male-characters.html

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Documents of Tabat: A Brief Treatise on Magical Energy and The Practice of Eating Beasts

March 30, 2015

What are the documents of Tabat? In an early version of the book, I had a number of interstitial pieces, each a document produced by the city: playbills, advertisements, guide book entries. They had to be cut but I kept them for this purpose. I'll release them at the end of April in e-book form; careful readers will find clues to some aspects of Beasts of Tabat in them. -Cat — What are the documents of Tabat? In an early version of the book, I had a number of interstitial pieces, each a document produced by the city: playbills, advertisements, guide book entries. They had to be cut but I kept them for this purpose. I’ll release them at the end of April in e-book form; careful readers will find clues to some aspects of Beasts of Tabat in them. -Cat

A Brief Treatise on Magical Energy and
The Practice of Eating Beasts,
Being A Primer for Elementary Students
of the College of Mages
by Sebastiano Silvercloth
(private publication of the College of Mages)

To understand the basic principle behind this practice, one need look no further than the custom of keeping Oracular Pigs, common among larger merchant households. Since such Beasts are capable of seeing only matters in its own physical future, they must be kept in places where their warnings of fire, attack, or other household disasters will involve the household, such as outside but near the kitchen, or beside outlying buildings of importance.

When the time comes that the Pigs foretells its own death (or shows signs of concealing such a prophecy), it is slaughtered and prepared for a feast in which the entire household takes part. The pig is consumed in the belief that its oracular powers may be acquired; some gamblers swear by a diet of such flesh.

Absorption of magic energy through ingestion of the flesh that held it is at the heart of many magical rituals. In truth, the roast pork and other meats are of little use to the consumers in the manner they desire. Luck is not a transferable quality. But it does advantage them in other ways: such consumption is known to increase life span dramatically, to prevent some illnesses, and cure others. The longevity of many of those able to afford the practice is augmented, while those with flatter purses lead richer lives.

Some Beasts and animals are much richer in magical energy than others, depending on their race’s characteristics. Almost every by-product and physical bit of a Dragon, for example, is highly valuable in that regard. The wings, which are typically removed from captive Dragons, are dried, while the meat is powdered and used as an ingredient in the alchemical cooking for which the Chefs of Tabat are famed. The leather is employed in the construction of aerial apparati and some armors, though the cost of such is prohibitive enough to keep them from the ordinary soldier’s wardrobe.

Dryads are similarly prized, for once they have taken on their ultimate form of a rooted tree, the wood of their bodies becomes steeped in magic over the course of season after season, and yields great quantities of energy when treated and burned in special furnaces. Such fuel supplies much of the energy that drives the city and gives its citizen the rich life we enjoy, and the trade boats are always on the look-out for Dryad groves, in order to collect the substantial bounty the city pays for their trunks.

For the most part, though, the effect created by partaking of a Beast or magical animal’s body is slight. Both Fairy blood and honey are faintly hallucinogenic in nature, but one would have to ingest vast quantities, such as the blood of two or three dozen Fairies (depending on the ingestor’s body weight and susceptibility to the drug) to experience anything appreciable. Still, the creation of dishes incorporating such substances have become an art for which Tabat is famed throughout the world. This reminds us that such knowledge may well be turned to practical purpose without suffering scorn. While pure Magicians pursue abstract knowledge, others help keep the College and city functioning through their willingness to put aside such lofty pursuits.

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Love the world of Tabat and want to spend longer in it? Check out Hearts of Tabat, the latest Tabat novel! Or get sneak peeks, behind the scenes looks, snippets of work in progres, and more via Cat’s Patreon.

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Michael DeLuca's Reckoning 2: Creative Writing on Environmental Justice

November 2, 2018

Reckoning 2: Creative Writing on Environmental Justice is solid in weight and content. The stories, poetry, essays, and art deal with the world around us and our ethics in dealing with it. This refined focus sharpens the magazine’s impact, I think, and makes it something that tries to evoke change through its art rather than the shallow comfort afforded by something whose theme was simply “Nature”.

The annual’s mission statement is A locus for the conflict between the world as it has become and the world as we wanted it to be. Editor Michael DeLuca’s opening editor’s note, “On Having a Kid in the Climate Apocalypse,” deals with a life situation that makes that mission even more pressing: having a kid:

My son is three months old. He has no idea what the world is, what it has become. I can say anything in front of him. I can curse. I can cry. He’s happy or he’s sad. there’s no cause and effect. I can read to him from A Tree Grows in Brooklyn, a book that spends hundreds of pages drawing an analogy between a child growing up and an invasive tree species flourishing in a sidewalk crack, a book full of compassion for the poor hated by the rich, casual about the hatred it portrays for people of other cultures. He doesn’t understand a word.

The essay is intimate, frank, and willing to comtemplate its own imperfections:

Maybe this revelation isn’t for everyone. Maybe not everyone needs it. Maybe, to people who aren’t white, aren’t straight, aren’t privileged children of educated families, some of this is so painfully obvious. I’ve spent this essay embarrassing myself. I needed it. I needed to write it. I needed my assumptions undermined and broken up and reassembled around someone who wasn’t me.

While there are several essays in the magazine, all of them nicely put together and executed, my favorite pieces from the issue are all stories:

“Wispy Chastening” by D.A. Xiaolin Spires is slight but significant, much like the narrator’s crimes against the environment, turning this into a sharp look at the idea of thinking globally but acting locally, or even individually.

“To the Place of Skulls” by Innocent Ilo provides an Afrofuturist post-apocalyptic world where its protagonists visit a landscape of grit and myth:

We are going to the Place of Skulls: Saro-Wiwa, Babbe, Gokana, Ken, Nyo, Ueme, Tai, and myself. For you to know, this is not the place Bro Lucas said Jesus was crucified when he was spitting into my face from the broken lectern during his sermon, last Sunday. The Place of Skulls is where a stark reality stares us in the face. We all have after-school exhaustion, Babbe’s diarrhea has worsened, Gokana is still nursing the burns on his legs from our last visit and Mama will yank at my ear if she hears fim about it, but we must go. The Place of Skulls is that important.

“Girl Singing with Farm” by Kathrin KÃ¶hler broke my heart and yet I know I’ll go back and read it several more times. What seems like it may be simplistic turns into a beautiful, layered story with a final image that will linger with the reader.

I’m saving the best for last and that is the story “Fourth-Dimensional Tessellations of the American College Graduate” by Marie Vibbert. I love this story so much that I am not going to discuss a single detail except that the ending made my heart leap and it is my favorite story of 2018 so far. I will hold onto my copy of this magazine forever because it contains it.

Highly recommended for those enjoying more literary SF as well as thoughtful essays.

(Reckoning Press, 2017)

You can read this review at http://thegreenmanreview.com/books/recent-reading-reckoning-2/

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