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Guest Post: TJ Kahn Reveals the Unheard of in Fantasy

The Unheard of in Fantasy: Advocacy for the Deaf and Hard-of-Hearing in fantasy and science-fiction

Imagine that you are a huge fantasy or science-fiction fan. You’ve watched every Game of Thrones episode. You own all of the merchandise. You’ve seen the “Lord of the Rings” and “Star Wars” trilogies so often your friends never need to ask what gifts you want for the holidays. Even your cat is named “˜Aragorn’.

Now picture the next big movie you’re excited about is announced. You watch all the actor interviews, cling to every spoiler and hint dropped by the studios, and the week before the premier you have your head shaved to carve your favorite clan symbol into your left temple.

Except when the movie comes out, you can’t watch it. It’s in a foreign language and the only way for you to enjoy it is with a small glass device attached to your chair that keeps slipping. You can watch the words or the action, but not both. At the end of the film all of your friends are going on and on about the wonderful fight scene with the main heroes but all you saw was your subtitles dropping away when someone bumped your chair going to the bathroom and you scrambled to put it back.

Oh sure, you could wait for it to come out dubbed in English, but you’ll have to wait for an entire week. A week of all of your friends ruining the best scenes because they’ve seen it already. Or avoiding all social media and TV because you don’t want to stumble on any spoilers. And when it does come out, you’ve scene all the best scenes already because it’s all people put on your fan sites since opening night.

Now imagine you’re Deaf.

There are two kinds of deafness in the United States: “˜small-d’ deafness and “˜large-D’. “˜Small-d’ deafness is the result of hearing loss. Advancing age, congenital hearing loss, or just too many rock concerts can all cause hearing loss.

Big-Deafness is a culture and history within the United States that communicates with American Sign Language, cherishes Deaf History, and fights for equal access to things like captioning for new movies. Deaf, Hard-of-Hearing, and Children of Deaf Adults can all identify with the Deaf Community, and several more like this author work or live with them as friends or colleagues.

With advances in technology, cellphones and texting have vastly improved the access Deaf people have to everyday conveniences like calling the cable installer or booking a restaurant. FaceTime and video relay enable them to call anywhere and anytime for taxicabs or doctors’ appointments. There is so much access in fact, that places where they cannot have access have become the glaring exception.

Like captioning.

Deaf people buy manga and watch drone races. They buy Millennium Falcon replicas and write Elvish. They roll dice, draw orcs, dream about dragons and buy fantasy novels just the same as every other fan of the genre. The only thing they can’t do is hear.

In cultures defined by their ability to supersede reality, shouldn’t all Fantasy and Science-Fiction be accessible? Shouldn’t conventions be close-captioned and panelists interpreted? Can’t more movies or television series use American Sign Language for their characters like The Dragon Prince show does with their Deaf General Amaya on Netflix? Productions that include Deaf and Hard-of-Hearing actors, even as extras, are still woefully small. Do you really need to hear to dress like a zombie and eat people? Or add shadows to an alien monster’s CGI graphics?

A person’s gender, sexual orientation, ethnicity or social class are not the only obstacles preventing brilliant and invested fans from reaching their ideal careers or childhood heroes. Let all people be Writers. Let them be Artists.

Let them be Dreamers.

Biography: TJ Kahn is an American Sign Language interpreter and retired hospital chaplain living in the San Francisco East Bay. A sci-fi/fantasy enthusiast and a devoted dog parent, he stays active supporting Podcasts and various artists, hoping to become a professional game designer himself someday.

Follow him on Twitter as Theopedes.

This was a guest blog post.
Interested in blogging here?

Assembling an itinerary for a blog tour? Promoting a book, game, or other creative effort that’s related to fantasy, horror, or science fiction and want to write a guest post for me?

Alas, I cannot pay, but if that does not dissuade you, here’s the guidelines.

Guest posts are publicized on Twitter, several Facebook pages and groups, my newsletter, and in my weekly link round-ups; you are welcome to link to your site, social media, and other related material.

Send a 2-3 sentence description of the proposed piece along with relevant dates (if, for example, you want to time things with a book release) to cat AT kittywumpus.net. If it sounds good, I’ll let you know.

I prefer essays fall into one of the following areas but I’m open to interesting pitches:

  • Interesting and not much explored areas of writing
  • Writers or other individuals you have been inspired by
  • Your favorite kitchen and a recipe to cook in it
  • A recipe or description of a meal from your upcoming book
  • Women, PoC, LGBT, or otherwise disadvantaged creators in the history of speculative fiction, ranging from very early figures such as Margaret Cavendish and Mary Wollstonecraft up to the present day.
  • Women, PoC, LGBT, or other wise disadvantaged creators in the history of gaming, ranging from very early times up to the present day.
  • F&SF volunteer efforts you work with

Length is 500 words on up, but if you’ve got something stretching beyond 1500 words, you might consider splitting it up into a series.

When submitting the approved piece, please paste the text of the piece into the email. Please include 1-3 images, including a headshot or other representation of you, that can be used with the piece and a 100-150 word bio that includes a pointer to your website and social media presences. (You’re welcome to include other related links.)

Or, if video is more your thing, let me know if you’d like to do a 10-15 minute videochat for my YouTube channel. I’m happy to handle filming and adding subtitles, so if you want a video without that hassle, this is a reasonable way to get one created. ???? Send 2-3 possible topics along with information about what you’re promoting and its timeline.

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Guest Post: Dan Rice on Inspirations for Dragons Walk Among Us

I knew I needed to become a writer after reading Frank Herbert’s Dune. I must’ve been about eleven years old at the time. I didn’t have an inkling about writing a rough draft, let alone the laborious editing process required to craft a decent manuscript. But I was captivated by how Mr. Herbert spun such a fascinating and realistic world of sci-fi splendor and swashbuckling adventure in such a slender volume. If you discount the appendices, Dune is well under 500 pages. To this day, I’m hard-pressed to think of another author who created such an enthralling and believable world with so few words.

Frank Herbert isn’t the only author I owe a debt of gratitude. My novel Dragons Walk Among Us is a young adult urban fantasy written in first person present tense. I never would have considered such an undertaking when I first found the stick-to-it-iveness to sit down and crank out words. That was before I read The Hunger Games by Suzanne Collins. I admit I found the style a bit off-putting initially, but I quickly warmed up to the immediacy the technique gives Katniss Everdeen’s adventure. When I first started writing in first person present tense, I wasn’t sure what to expect. I feared I’d find the first person narrative limiting and the present tense aspect hokey. Not the case at all. Turns out, it’s a heck of a lot of fun.  If it wasn’t for Suzanne Collins’ example, I never would have even considered experimenting with the technique.

Two themes that play essential roles in Dragons Walk Among Us are being an outsider and questioning one’s perception. The works of Fonda Lee and Rachel Hartman helped me solidify my thoughts on these themes. In Hartman’s Seraphina series and Lee’s EXO series, the protagonists are pariahs who end up questioning the social order of their respective worlds. In Dragons Walk Among Us, Allison Lee, the protagonist, is a member of a minority. She often feels she is an outsider and, after being blinded, questions reality, even her sanity. The protagonists’ character arcs in Seraphina and EXO gave me insight into how to elucidate these themes in a manner that I think resonates with readers. Of course, Rachel Hartman’s books include dragons, and just about any book containing dragons is inspirational.

Lastly, I drew inspiration from observing my son’s experiences, who is biracial. Not being a minority myself, I can’t claim to have ever experienced racism. My son, however, has experienced it. He was upset and pensive over the incident but has since moved on. His experience had a profound impact on me. I was already aware of the racial tension permeating the United States, but having my child brush up against the ugly beast of racism brought the issue to my doorstep. I fear the fault lines of bigotry and bias run deeper and wider than many people care to admit. One example is the anti-Asian sentiment emerging in the wake of the pandemic. All this is to say, some of Allison Lee’s experiences are loosely based on my observations of my son’s experiences. I can honestly say, I don’t think Allison’s story would be authentic without my son providing some inspiration.


BIO: Dan Rice has wanted to write novels since first reading Frank Herbert’s Dune at the age of eleven. A native of the Pacific Northwest, he often goes hiking with his family through mist-shrouded forests and along alpine trails with expansive views.

Dan has traveled extensively around Southeast Asia, where many of his in-laws live. He hopes to include some of the locales he has visited and thoroughly enjoyed in future novels. Dragons Walk Among Us is his debut novel. He plans to keep writing fantasy and science-fiction for many years. On his blog, you can find posts about the many books and experiences that have helped make him a better writer. Find out more:


If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

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Guest Post - Knives Out: A MICE Case Study by Ziv Wities

Rian Johnson’s superb Knives Out has stabbed its way into our hearts and minds. It’s not often that a screenplay so expertly crafted makes this kind of a splash. So, let’s use Knives Out to learn about MICE⁠“”a handy approach to story focus and structure, incredibly useful for writers and re-writers. And as we go, we’ll use MICE to examine some aspects of Knives Out‘s intriguing construction.

The MICE Quotient, developed by Orson Scott Card, observes that there are different kinds of reader tension or investment in a story.[1] MICE suggests four typical kinds of reader investment that a story can court:

  • Milieu: “Look, an interesting setting; let’s explore it!”
    g. touring strange sights; immersion in a particular period or culture.
  • Idea: “Look, a perplexing question or concept to puzzle over!”
    g. solving a mystery; following the consequences of an SF-nal premise.
  • Character: “Look, internal conflict!”
    g. the hero overcoming their flaws, or questioning their role in life.
  • Event: “Look, external conflict!”
    g. facing looming danger or a powerful foe; resolving a battle or a contest.

This is a rudimentary introduction to MICE’s elements, but in this piece, rudimentary is enough. Enough to understand that there is a selection of elements, of “kinds of tension” a writer can craft. With that, we’ll demonstrate MICE in action. We’ll see how to use MICE to interrogate a story, figuring out where its focus is, what kind of tension it’s building, and what makes it tick.

Knives Out, whose structure and focus are a fantastic mix of the conventional and the surprising, is the perfect case study. This piece assumes you’ve seen the film; spoilers ahoy![2]

Let’s Practice

Here’s our question: What kind of story is Knives Out?
Obviously, every story has many elements. But which feels most central? Is this story exploring a Milieu; investigating an Idea; following a Character’s development; or struggling against a threatening Event?

Seems easy enough: it’s a murder mystery. It begins by asking “Who killed Harlan Thrombey,” explores that question, and ends when it’s answered. The very model of an Idea focus.

But there’s something unusual going on; something more nuanced. The first act””let’s mark the first “act” as being everything up to the big twist””the first act, sure, is classic Idea. But that act ends with a vivid conclusion, revealing Marta as the tragic culprit.

And then we move into the second act. Where suddenly, we’re not following a murder investigation.

Instead, we’re following the ostensible murderer.

What kind of story does that give us?

Let’s see how we use MICE to answer that.

Identifying Focus

One way to tease a MICE focus out of a story is to ask what kind of buttons it’s pushing. What kind of promises is it making? What is it signaling as “the interesting part”?

Character relaxing smugly in a chair as he observes investigation.For example, Act I, with its Idea focus, is all about questions. Not only the big question of who the murderer is⁠“”it builds up lots of little questions that keep us curious. Who’s the stranger sitting in on witness interviews? Did all three of you show up at the same time? Who hired Benoit Blanc?

Many of these little questions earn an immediate answer, which helps us feel we’re constantly discovering new and significant information.

But Act II isn’t about questions; not at all. It goes out of its way to avoid them. For example, Marta doesn’t care who is blackmailing her; only how she’ll get out of it. Likewise, “What’s in Harlan’s will?” has a startling answer””but the question is initially coached as a dull one, “a community theater performance of a tax return,” Blanc predicts. It’s the family bickering that looks like the interesting bit.

Act II doesn’t lack for critical clues towards the real murderer. But there’s not a single moment that’s framed as a discovery, as progress with the case, as a question being asked or answered.

All right, then. If Act II isn’t playing on our curiosity, what is it playing on? Let’s look at those same scenes and ask what is presented as the compelling part.

Family pressing in around Marta as she tries to escape into a car.Where is our attention in the will-reading scene? It’s on the family’s intense, simmering animosity. How they all detest Ransom; how none of them can sit in the same room together. And then, when the will is revealed, all that anger and rage turns full force””on Marta.

Where is our attention for the blackmail note? It arrives when Marta is beset on all sides; Walter’s threatened her mother and Blanc is looking for her. As soon as she and Ransom have read the note, we cut to the torched, smoking crime lab. This blackmailer is ruthless.

Underneath lab report handwritten message reads "I know what you did."So the stress is on the danger to Marta, mounting higher and higher. Marta’s choice is to obey the instructions. Protecting herself is what’s important now, to Marta and to the story.

So we see that what drives Act II is threats, danger, uncertain outcomes. Will Marta be caught? Will she be exposed? Will she be bullied or guilted out of Harlan’s inheritance?

It’s an act full of external threats to Marta, and all the tension is on how they’re going to be resolved. That pegs Act II’s driving force as being Event.

Stark Separation

Most stories have multiple threads, of multiple MICE types””but usually, they’re intertwined, woven together. Knives Out does something different: it distinguishes between them, sometimes to startling extremes. One reason Knives Out makes a great case study is that it sets its Idea and Event threads cleanly side by side for comparison.

Act I was full of interrogations; questions being asked and answered. Act II introduces Ransom, in exactly the same situation. But this time, when the Lieutenant says, “We’d like to ask you a few questions⁠“””, Ransom blows right past him. Or, when Blanc thinks Greatnana has a piece of the puzzle, he doesn’t have any questions for her. He doesn’t know what to ask. He doesn’t have a line of inquiry. What a difference from Act I!

And you’ll find that threats, danger, uncertain outcomes””the bread and butter of an Event thread””are as absent from Act I as questions are absent from Act II. None of the tension is the “success or failure” variety; there is no moment of “I hope this works.” Act I offers no stakes, no consequences to finding the murderer or letting him escape; nothing beyond the promise of a complex, satisfying puzzle.

Harlan with his hand over Marta's mouth, keeping her from revealing her ostensible crime.Even where you’d expect that a sense of danger would be absolutely necessary, it’s not there. Marta’s entire motive in following Harlan’s plan is the threat to her mother, yet she’s not the one who realizes it, who feels threatened. It’s Harlan who puts that together, while Marta gapes at him. That, right there, is the difference between “Marta’s mother could be deported” serving the story as an imminent threat, vs. as the answer to a question.

MICE as a Lens

Once you have a sense of your various MICE threads, you can use them to understand your own story better. Here are some questions MICE can help you ask and answer:

What’s my beginning? What’s my end? Each MICE type makes a different kind of promise to the reader. A thread begins when a promise is made, and ends when it’s paid off.

Marta shocked and crying after Harlan has killed himself.For an Idea story, the promise is a question; the payoff is its answer. Sure enough, Knives Out opens on a dead body, and ends with the culprit revealed. Even Act I, though, feels complete: it, too, ends with an answer, and a very definitive one. When Marta sees Harlan slitting his own throat, that’s the moment where the question has been firmly and completely answered””at least in Marta’s own mind.

Close-up of cracked phone dialing 911.For an Event story, the promise is a situation of crisis; the payoff is how that crisis is resolved. Act II’s crisis is “Will Marta manage to avoid detection,” and that thread’s start is Marta trying, really really hard, to destroy the evidence without being caught. Where does it end? When we resolve the tension: when Marta stops trying; when she accepts defeat. When she decides to dial 911 rather than let Fran die, that’s Marta hitting her limit. Discovering that limit is the conclusion of this story thread.

How do I increase tension? Each kind of tension needs to be handled, and heightened, in its own particular way.

An Idea thread’s focus is a fascinating puzzle. So, increase tension by demonstrating how interesting, complex, and rewarding the puzzle is. Knives Out plays up complexity by introducing a family full of lies and intrigue; and shows it Does Puzzles Good by asking, and then solving, some small ones along the way.

In an Event thread, the focus is external conflict. So here, demonstrate how dangerous and overwhelming the threat is, and tease any potential reward. Act II keeps showing us new ways that Marta’s in great danger, but also her realization that she might become safer than ever before.

How do I introduce something important? If you want readers to care about something new, it’s easiest to connect it to something they already care about.

In an Idea thread, that means being relevant to the driving question. The family members are interesting because they’re suspects. Some of Marta’s earliest introduction is as a living investigation aid; someone who knows all the secrets and can’t lie.

In an Event thread, anything that can make the conflict go better or worse is automatically interesting. Consider Ransom, who fans the flames of the family infighting, and then swoops in to save Marta from an immediate threat. We’re interested in him not for answers, but for how he affects Marta’s situation; as a mover and shaker in the Event thread.

Conclusion

We’ve seen the clearest structural threads in Knives Out. (If you’re curious for the rest, the film has Milieu and Character threads as well. Identifying those is an excellent exercise”¦)

Hopefully, I’ve demonstrated how to use MICE to find those threads, and gain insight into them.

Don’t think of MICE like a Sorting Hat, squeezing any story into four arbitrary boxes. Remember the goal we’ve seen here: understanding what makes your particular story tick; how your story pulls readers forward, and how it pays off its promises. MICE gives you a stepping-stone to those big questions””an easy question first, to get you in the right ballpark.

Usually, you can take it from there.


All screencaptures by KissThemGoodbye.Net.

[1] MICE is detailed in Card’s writing books, How To Write Science Fiction & Fantasy and Characters and Viewpoint.
Here is a good summary, hosted by The Gunn Center for the Study of Science Fiction.

[2] For reference, the full script, via Deadline.


Selfie of Ziv Wities on a path through a forest.BIO: Ziv Wities is a short-fiction evangelist, a devoted beta-reader, and an Assistant Editor at Diabolical Plots. If you enjoyed this piece, Ziv’s website collects a selection of writing Q&A and his expert overanalyses of Too Like The Lightning and Star Trek: Discovery. He tweets, vaguely, as @QuiteVague.


If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

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