Guest Post: Five Things I've Learned from a Hobbit

Today on the blog I have the delight of welcoming a fellow author, Jill Richardson, who will be encouraging us with some meditations on Hobbits and faith. You should definitely check out her book, Hobbits, You, and the Spiritual World of Middle-Earth. It's a fascinating devotional and study book that's grounded in the wonderful literature of the Hobbit and the even more wonderful Scriptures. So, without further ado, here is her blog post!

Bilbo's Journey and Me—Five Things I've Learned from a Hobbit

Have you enjoyed the last two winters of Bilbo Baggins' adventures on the big screen? I definitely have. (Although I've had to keep repeating to myself—This is not the book. This is not the book. Because it isn't, for those of us who love the book. Still . . . it's fun.) I even made last year my first ever midnight showing. (That was rough. I'm a little older than . . . many of you.)

Six movies and thirteen years later, Bilbo Baggins' cinematic sage is almost over. It started in 2001 with his birthday party (Fellowship of the Ring) and ends this winter, technically sixty years before that party. Yeah, a little timey-wimey thing going on there; it's complicated.

My love affair with all things Tolkien started late. It's not like my brother didn't try. He told me Lord of the Rings and Tolkien's other works were the best books ever written. He even gave them to me. But I never read them.

Then my husband started reading the books to our girls in preparation for seeing the movie, thirteen years ago. I went, and I sat in that dark theater in Bozeman, Montana, expecting not to like the action adventure film.

I fell irrevocably in love. Went home. Read all the books. Started studying them, and finally wrote a book about them. My fascination with character study and these particularly amazing characters flooded together in that book that combined Tolkien and Scripture (and trademark sarcasm).

So I thought perhaps today we could look at one of those characters. Specifically, the main one. You don't name an entire book (and three movies) The Hobbit if that hobbit is not somewhat important.

What makes Bilbo such a popular hero? What does he teach us about adventures, and heroism, and life?

1—Don't leave the path.

Gandalf's last words to the hobbit and dwarves before they go into the ominous forest are, “DON'T LEAVE THE PATH!” You know what's going to happen right there.

Directions we receive when life is all sunshine and rainbows are easy to remember. However, spend a while in the dark--lost, surrounded by frightening noises, and uncertain you'll ever find your way out--and . . . those simple instructions seem long ago and far away.

Maybe God didn't mean exactly what He said. Maybe I can take a short cut. I'll still end up in the right place, but I'll find an easier way. (Sounds just a little like Satan in the Garden of Eden hissing, “Did God really say that? Are you sure that's what he meant?”)

CS Lewis said that the devil was never in more danger than when a human could no longer feel God's presence but obeyed him anyway. When God seems silent, I try to remember Bilbo's insistence they remember what they last heard. Stay on the path. Even when scared and lost.

2—Never laugh at a live dragon.

Bilbo truly enjoyed matching wits with Smaug. He'd shown his mental quickness already with Gollum. Now, in the cave chatting with a dragon, it was taking all his abilities, and he got a little carried away. That intellectual adversary was a dragon. He didn't need a lot of incentive to create hobbit flambe. Bilbo was so into his own brilliance there for a while that he forgot he was dealing with something way beyond him. He started to underestimate the danger and overestimate his own capacity. 

I've done that. Getting so impressed with my own intelligence, or ability to handle temptation, or good judgment, that I start to think I can handle whatever the situation is. So sure of myself that I forget this battle is way beyond me. I forget that Jesus said, “Apart from me you can do nothing.”

3—Be a Problem Solver.

Barrel scene—best ever. OK, so it wasn't the easiest route to freedom, but while the dwarves sat around complaining about how nothing was going to work, Bilbo came up with an idea that might.

There are people who let life happen to them, and there are people who take charge of life. Bilbo progresses throughout the book from being the first kind of person to the second. Life is full of obstacles to getting where you're supposed to be. A victim of life  wonders why nothing has worked out for him; a Bilbo looks for a way to deal with the things that aren't working. You may get wet, but you'll get where you wanted to be.

4—Trust the One Who Chose You.

Bilbo does not think he is a burglar. Nor a warrior, adventurer, or dragon slayer. He doesn't even think he can skip breakfast without serious consequences. Neither does anyone else--and they are right. He isn't.

Bilbo continues the journey because he was given a job and he is committed to getting it done. Even when no one believes in him. Along the way, while he keeps trusting that call, he finds his courage. He becomes the hero in a way that only he could.

There's a reason I sign my book with the verses: “Remember, dear brothers and sisters, that few of you were wise in the world’s eyes or powerful or wealthy when God called you. Instead, God chose things the world considers foolish in order to shame those who think they are wise. And he chose things that are powerless to shame those who are powerful.” (1 Corinthians 1.26-27)

When God calls, he knows how capable or incapable I am. He knows where I'll need help. What he wants is my willingness to trust and keep going.

5—Be the Boss of Your Fears.

I love the paragraph in the book where it says that Bilbo fought his greatest battle not when he saw the dragon but in the tunnel beforehand. His greatest struggle was with his fear, not with the creature. Once he defeated the urge to turn back, he had already won.

Sometimes the biggest thing we fear is not the dragon but our own reaction to the dragon.

We're more afraid of how terrible we'll feel running back down the tunnel. We don't like feeling like failures. When Bilbo takes charge of his fear and makes himself keep waking, he shows us all how to face the things that frighten us.

And One Bonus Lesson—Stay away from large spiders. Really, why should anyone have to tell you this? It should be obvious.

Jill's somewhat unnatural love for hobbits and elves comes from her time as a literature teacher and as a lifelong reader of great stories. She also loves an epic challenge and a chance for grace wherever they exist. Jill is pastor of Discipleship at Resolution Church in Illinois. She is the author of Hobbits, You, and the Spiritual World.

Contact Jill by email at jills-books@comcast.net, check out her website, like her Facebook page, read her blog, follow her twitter… Yes, there are many ways of contacting her! Choose your favorite!

A Few of my Favorite Fantasy Cliches

This is my 100th post! In celebration, I'd like to do something very cliche: write a post about my favorite fantasy cliches. (Cue applause.)

Also, please note that in my blog post, I've used male pronouns to refer to characters, since the majority of fantasy stories are still written about males. Hopefully someday the case will be different!

So, without further ado, I present:


My Favorite Cliches
To the tune of, "My Favorite Things"

Dark stormy nights and scales on dragons
Bright shining daggers and red glowing fire
Stacks of old parchment all tied up with strings--
These are a few of my favorite cliches.

Black or white horses and elvish lembas bread
Watch bells and beacons and Gollum with worms
Creatures that fly with the Nazgul on their wings--
These are a few of my favorite cliches.

Shield maidens in white dresses with swords at their sashes,
Arrows that barely scratch my nose and eyelashes
Silver white beards of wise old men who soon die--
These are a few of my favorite cliches.

When the Dark Lord rises, when the prophecy rhymes, when the hero's an orphan,
I simply remember my favorite cliches, and then I don't feel so bad (about my own writing)!

And now for a proper list of my favorite fantasy cliches.

1. Stock characters

Almost every single fantasy story contains an old man/wizard/wise person who imparts crucial information to the young hero, usually an orphan. Said young hero discovers he has magic powers or is the "chosen one," a fact that no one has told him all his life, and that the villains have only just discovered. Add in a handful of warrior maidens and a dragon or two, and you've got a regular soup of cliches. If you really need any examples of this, just look to Lord of the Rings or Harry Potter.


2. Prophecies or curses

Speaking of the "chosen one," any prophecy or curse of any size or shape definitely counts as cliche. Particularly if the hero is the only person that the prophecy could refer to. And if the stakes are "the end of the world as we know it." So if you're dying to make your story as cliche as possible, please, please, insert one of these. I promise it'll increase the cliche-factor by ten. Don't believe me? Ask the dishes! (Reference to Beauty and the Beast, which by the way contains a prophetic curse.)

3. Medieval setting

Despite the constant use of Medieval costumes and weapons in fantasy stories, the hygiene and medicine of fantasy stories seem to be pretty modern. Because, really, where's the plague? Furthermore, there's always a journey that takes days or weeks to get to the destination, usually by walking or riding the same horse for days on end. Honestly, how do characters in these stories manage to get anything done when they must be dead tired from traveling all the time? Walking kills your feet, kills the horses, and can't be done constantly. I'm looking at you, Lord of the Rings.


4. Good versus Evil

So your hero is battling a "Dark Lord" or the "forces of evil" or must go through the "Dark Forest" and battle an army of ugly evil orcs? Wow, how original. But let me ask a question: why should darkness be the enemy just because it's dark? Couldn't that be construed as a bit racist? And why should the whole race of elves (or dwarves, or men) be good and beautiful while orcs (or other villainous force) are always evil and ugly? The real world has good ugly humans and bad beautiful humans. Why should fantasy be any different?


5. Unrealistic fighting

Hero learns swordplay in about a week and is suddenly a master at weapons of any kind, able to confront expert enemies who've had years of training to perfect their technique. Also, arrows never, ever run out, armor is feather-light, and shields are hardly ever necessary. Oh, and while we're on the subject, all wounds seem to be either a minor scratch or life-threatening. Don't heroes ever get paralyzed, or suffer brain damage, or have to amputate their arms?

That said, of course, these particular cliches are only cliches because they've been used very effectively in some of the greatest fantasy stories of all time, from Lord of the Rings to Harry Potter and Beauty and the Beast. So should you really always avoid using cliches?

Well, on the one hand, if you purposefully try to avoid all cliches ever, you're just going to give yourself a horrible headache while you try to think of original plot devices and methods of transportation. On the other hand, you do want to think very carefully before inserting a cliche into your story.

If you do use a cliche, make it humorous and obvious, as Patricia C. Wrede does in her hilarious Enchanted Forest Chronicles. Or try turning it on its head, as Gail Carson Levine did in her amazing novel Ella Enchanted. Recognize the cliches in your writing--and run with them! Use them for your own benefit. It's the best way to write!


Have you read any books or seen any movies with cliches? Any cliche-breaking stories you'd love to share? What about in your own writing--love them? Hate them? Avoid them like the plague?

Creating Fantasy Languages

One of the most interesting aspects of fantasy works is the fact that they take place in worlds of their own, with the potential for entirely new life-forms, cultures, and languages. A few fantasy authors have capitalized on this unique opportunity by going so far as to create their own language(s) to populate their fantasy world. Of course, J.R.R. Tolkien stands as an eminent example of such a practice.

In today’s blog post, I’d like to examine first of all whether it’s worthwhile to create a language/languages for your world, and second of all provide you with some resources in case you are interested in creating languages. So, without further ado, let’s begin.

Pros:

• Languages provide depth: There’s nothing that proclaims the hard work and seriousness of your story than a language. Adding a unique fantasy language adds an immediate dose of credibility to your story that your readers may enjoy.
• Languages add believability to characters and settings: Languages can be invaluable tools for developing various unique civilizations and cultures in your story. Also, individual characters may be better described and recognized based on the language(s) that they speak.
• Languages can be fun to create: This one’s pretty self-explanatory—languages are a fun break from the grind of churning out a rough draft or meticulously editing your manuscript. Just don’t get so caught up in languages that you neglect the story itself!
• Languages are important biblically: The account of the tower of Babel tells of a time in which everyone spoke one language and “nothing that they propose to do will now be impossible for them.” (Gen 11:6) Recognizing the power of language, God created different languages, causing people to be scattered and divided throughout the earth. In short, languages have power biblically. Don’t underestimate this power in your story!

Cons:

• Languages are time-consuming to create: It takes a lot of effort and time to come up with a unique language, especially if you use a distinct alphabet. Tolkien himself began the work of creating his elvish languages in his teen years, and the project was still in progress in his forties. Be aware that this isn’t a project to take lightly!
• Languages don’t advance the plot and rarely help to create better characters: While languages do have some role in the story as part of the setting, they are not usually instrumental to the progress of the plot itself. They also don’t usually add to the believability of characters, since other elements—such as their likes, their dislikes, and their interests—are more essential to readers’ knowledge of characters. So don’t let languages become too much of a priority.
• Languages require explanation and can distract from the overall story: Let’s be honest here—foreign languages slow the action down. They should be used sparingly, if at all. Be sure to weigh the benefit of adding depth to the cost of slowing down the story before you insert any languages into the story!

With that analysis behind us, let me point you to some resources in case you would be interested in creating languages.

The Language Construction Kit: a very helpful resource for those trying to create an artificial language. You can use the resources in as much or as little depth as you wish.

Language Creation Society: if you’re really serious about creating a language, they have some helpful resources on their website. Be warned—it’s not for the faint of heart!

Discussion Thread on Creating Phonetic Systems: You may have heard me mention the HolyWorlds forums once or twice on this blog. That’s because they contain many, many helpful discussions on topics relevant to Christian fantasy writers—including this particular easy-to-understand guide to creating languages and phonetic systems.

Article on How Language Affects Behavior: this article by Stanford researcher Lera Boroditsky highlights examples of how the language you speak affects how you see the world and how you behave. Although it’s not directly related to creating languages, it is very fascinating to skim if you have a few minutes to spare.

And that brings us to the end of today’s post. Now it’s your turn: have you ever tried inventing a language? How did it go? Any advice on how to include languages in your fantasy story?

Racism

In these next few blog posts, I'd like to focus on some deeper, darker issues that we as fantasy writers are in a perfect position to tackle. For today, we'll be talking about racism.

First off, why should we even mention ugly issues like racism in a fantasy story? Isn't fantasy all about escaping the dark realities of this world and immersing readers in a world full of fairies and rainbows and light? As anyone who has read fantasy will tell you, no, rainbow-fairies and escapism is not what fantasy is all about.

In fact, I believe that fantasy is a medium that is excellent for conveying even the darkest truths about this world. You see, fantasy is like the reflection in a pond on a crisp autumn morning. The real world inspires the fantasy reflections. Sometimes, though, by seeing those reflections, your readers will be able to look at the real world with a clearer eye. What fantasy gives us, then, is a change of perspective. When we finish the last page and close the book, we don't look at the world in quite the same way.

So, in essence, fantasy provides us with the chance to challenge and maybe even to change a reader's view of the world. What a task--and what an opportunity!

Now that we've dealt with the power of fantasy, let's get down to the dirty business of racism. As most people know, racism refers to judging others based only on their skin color or race. Racism can result in one race believing itself superior to others and segregating or enslaving other races.

How does racism fit into fantasy? Well, most fantasy worlds have multiple beings/species/races. For example, Lord of the Rings has a variety of sentient beings--Elves, humans, wizards, and hobbits, among others. What if hobbits suddenly decided that their height entitled them to a superiority above all the other beings in Middle-Earth? Instead of a dark lord you would have a hobbit, both terrible and beautiful and powerful and short! Or, to make the issue a bit more human, what if the men of Gondor decided that they were superior to the men of Rohan and Bree and the North, and then decided to enslave anyone other than the inhabitants of Gondor?

As you can see, there are ample opportunities for racism, segregation based on race, and racial slavery even in fantasy stories.

I suggest that you take a close look at your own story. Is there a place where your story might benefit from the tension and conflicts created by racism? Do you have multiple species or races in your story, and does each one have a separate place in society? If your fantasy world has everyone equal, then think about the history of your world. Was there a time in the past where everyone was not equal? If so, how did the present equality happen, and how could you use those lessons in your story?

All of the above is not to say that you should be preachy in your stories or start ranting about the horrors of racism. Your story, not a moral lesson, is what's important here. I do suggest, though, that you take the opportunity to use your story to reflect some of the darkness in the real world. Challenge your readers by showing them ugliness not just in fantasy but in their own lives. Give people the chance to learn and change. Whether you use racism or some other topic (maybe one that I'll be covering over the next few weeks), I hope that you use your story as an opportunity to challenge and change the world.

Food & Fantasy

I love food. Cranberry scones, lemon sorbet, apple pie, Japanese hiyashi-chuka noodles, fresh-baked bread, thin crust pizza...food can be so delicious and amazing!

Then again, sometimes it's more weird than wonderful--bird's nests, shark fin soup, grubs, fried crickets, and more. As fantasy writers and readers, we can be alert to using all of the mighty powers of food for many different purposes.

That's what today's blog post is about: food and fantasy.

1. Everyday-subsistence food
Your story may be a fantasy, but your characters do need to eat. (Unless they are some sort of non-eating-elemental-beings, in which case they probably need energy like moonbeams rather than food.)

Think carefully about what the ordinary people in your story eat on a daily basis. Do they have wheat and corn and potatoes, as in our world? Is there a ready supply of meat? Or are they vegetarians (like me)? Are there any types of daily foods that are unique to your world--special fruits, for example, or maybe a type of vegetable that your main character hates?

If your characters travel over the course of your story, be sure to have them sample different cuisines along the way. There's no better way to add realism to your story than by describing the different sorts of foods your characters encounter along the way!

A few words of warning: while food is an interesting detail that adds texture to your story, don't let it be unnecessarily prominent. Don't just mention food for the sake of mentioning food. Whenever you mention food, make it part of the conflict: the main character doesn't want to offend her host, but she hates eating zinzer roots; some village children are falling sick because of malnutrition; your crew of hearty sailors have scurvy or are running short of food. You get the picture. Make food interesting, important, and maybe dangerous.

2. Special-occasion food
In our world, food is so often tied to celebrations. Think of Thanksgiving dinner. What would it be without turkey and cranberry sauce and stuffing? Then there's Easter, which is practically synonymous with eggs. Or what about Chinese New Year--you have your springrolls, your pineapple tarts, your lo hei/yusheng. Food is an inescapable part of celebrating.

So in your fantasy world, when you have celebrations of the new year or for a coronation or for the king's birthday or for the Harvest Festival, be sure to concoct some special and essential foods to celebrate.

3. Food with special properties
Think of all the examples: Snow White's poisoned apple. The elves' lembas bread from Lord of the Rings. The Weasley twins' nosebleed nougats and canary creams from Harry Potter. We're writing fantasy stories, so we really can let our imagination run wild with our foods. Make your foods poisonous, deceiving to the eye (maybe it looks like sugar and tastes like coal), bestow strength on the eater, make the eater turn into a canary, make the eater invisible...the possibilities are endless.

If you're really interested in the possibilities of magical food in fantasy, study J.K. Rowling's use of candies and foods in Harry Potter. Food is one of the many things that makes Rowling's stories come to life in readers' heads.


A note on presentation: in some cultures, like Japan, the arrangement of the food is crucial. The food is meant not just to be useful but to be beautiful. The colors are chosen to create harmony on the plate; the foods are arranged in special shapes and positions. In such cultures, food can be an art form in and of itself. You could write an entire book about a girl determined to succeed as a food artist but prevented by the traditional heirarchy of her fantasy world. My point here is, don't just think about food as a detail or sustenance for your character. Make the food and the presentation of the food woven seamlessly into the fabric of your fantasy culture.


All this talk about food is making me hungry! Good thing it's almost lunchtime. Let me know if you've made up any foods for your fantasy world, or if you have any cool examples to share of uses of food in the stories you've read.

Medicine and Healing in Fantasy

I don't know about everyone else, but I had a bit of a rough week. First off, I developed a nasty sort of infection so that I could barely move my arm. Then, I needed surgery to remove the infection, and not just any surgery, but the whole anesthetized enchilada. Since then, I've had to go back to the doctor's almost every day for poking and prodding -- also known as "healing."

Now, as a writer, there's a definite silver lining to this otherwise-unfortunate circumstance. That is to say, if I ever need to write a character who develops an infection and has to have surgery or is anesthetized, then I'll know what it's like! And, what's more, it got me thinking about medicine and healing in fantasy. So let's explore that topic in today's blog post.

Fantasy stories are by their very nature dangerous. Whether your hero battles a fire-breathing dragon or your heroine takes up swordfighting, the chances are quite high that one of your characters will be injured in the course of your story. (If no one gets injured in your entire story, well, maybe now's your chance to re-think your strategy.) What, then, is your poor bleeding character to do? Below, I'll explore several options for types of medicine and healing that you could use in your story.

1. Herbal Lore 
Pros: This is really the quintessential fantasy healing method. For example, in Lord of the Rings, Aragorn's athelas or kingsfoil plant brings healing to people who have been hurt by the Nazgul. It can be quite effective in medieval-style fantasies in particular.

Cons: On the other hand, it seems to me that so many fantasy stories abound with strange herbs with interesting properties. If you are going to use herbal remedies, then make them unique somehow. Beautiful flowers, meaningful symbolism, deceptive appearance--the options are almost unlimited. Another thing to keep in mind is that it takes quite a lot of knowledge and training and skill to find and administer herbal cures. In other words, don't let just anyone plaster plants on your characters!

2. Magical Healing 
Pros: Again, this is a method of healing that feels quite natural in most fantasy stories. Plus, in some cases, you may have situations where characters aren't affected by regular diseases or wounds but rather by dark and evil forces at work. In such situations, magical healing may be the only cure. Remember Radagast the Brown in the Hobbit, when he heals that tiny and absolutely adorable hedgehog Sebastian? That's a situation in which magical healing works wonderfully.

Cons: Magical healing can't be a cure-all for any problem. Even in a magical and fantastic world, there needs to be pain and suffering and loss in order to make your story meaningful. For example, again in Lord of the Rings, when Frodo returns to the Shire, he feels the pain of the sword-stab he received on Weathertop. In the end, the pain of his wounds (physical and, perhaps, spiritual) makes him decide to leave Middle-Earth forever.

3. Modern Medicine
Pros: Using modern medicine like painkillers and antibiotics and stitches is quite an unusual choice for a fantasy story. Because it's so rare, it's always very interesting. And, too, if you introduce some sort of epidemic like the plague, then modern medicine can offer quite effective cures. In an old version of a fantasy story I was writing, teens from earth get transported to another world, and they are carrying modern medicines that they use in the story.

Cons: Obviously, modern medicine would not work in every novel. Some fantasies are so historical in nature that using modern medicine would be out of place. However, sometimes you can borrow concepts and ideas from modern medicine and translate them into your story in ways that would work. Also, don't forget that modern medicine requires a whole lot of training. To become a doctor or a nurse, you need to go through years and years of rigorous schooling. Even in a fantasy story, don't cut corners--make your healers work for their medical skill.


Medicine and healing in fantasy is such a broad topic that one blog post can't begin to cover everything.  What about medical schools? Hospitals? Apprenticeships? Well, maybe that will be a post for another day. In the meantime, let me know what type of healing you use in your own stories or particular forms of medicine you've noticed in other books. Stay healthy, and keep writing!

Accessories in Fantasy

Recently, one of my readers read the Fashion in Fantasy series on the blog last year and commented that something seemed to be missing. After a bit of thought, it came to me: I'd barely begun to scratch the surface of one of the most essential elements in a fantasy story--the accessories.

Don't look so surprised. After all, what self-respecting fantasy story doesn't contain at least one necklace-with-amazing-powers or a turban filled with a dark presence or a scarlet cloak rippling in the chill winter breeze? Clearly, in the realm of Faerie, even ordinary objects and accessories have the potential to become extraordinary. We, as fantasy writers and readers, should exploit that potential.

So let's explore accessories in fantasy in more depth. First, let's take a quick look at all sorts of objects and accessories, and, second, how you can use them in your story.

The types of accessories are virtually endless, but let me list some here to get you thinking. There is jewelry, from a necklace to a single gemstone or a golden ring. There is headwear, like crowns, tiaras, turbans, fedoras, and all sorts of hats. There are handbags (what self-respecting girl, after all, even in a fantasy world, wants to be without her trusty purse?). And, too, there are all sorts of shoes--glass slippers, seven-league boots, the latest chic Jimmy Choo heels.... It could be a rusty old key or broken eyeglasses or a small handmirror. There are lots more ideas--more may come to your mind as we continue. Above all, make sure that the accessories you choose are uniquely suited to the world of your story.

Next, let's think about the uses for these objects.

• Flair: Some objects may not have any fantastic powers but may simply add to their personality or their signature "flair." Examples: Little Red Riding Hood's red riding hood; Sherlock Holmes in his tweed suit with a magnifying glass
• Love: As a symbol of love and trust, accessories can be unparalleled. Even in the "real world" we use rings and jewels to convey how precious our loved ones are. Example: Aragorn and Arwen's jeweled necklace from Lord of the Rings
• Family Heirlooms: Again, as in the real world, the objects that have the most meaning to us are often the ones passed down from generation to generation. (Of course, such objects may very well have powers beyond simply surface value.) Using such objects would give a bit of the backstory behind your characters and what they value in their lives. Example: Harry Potter's invisibility cloak, inherited from his father
• Historical Item: This type of object can be used to expand your storyworld and give insights into the background of your tale. History is important because it affects the present. (This type of item can, of course, be combined with some sort of power as well.) Example: Aragorn's crown of Gondor from Lord of the Rings
• Contains a Secret Message: Such uses for accessories abound in many of the best stories. After all, who would think to look for a message in the engraving of great-grandaddy's spectacles or in Aunt Marge's scarf? Examples: Madame Defarge in Dickens' Tale of Two Cities was most adept at hiding information in her knitting; the broken eyeglasses in the first Transformers movie contained coordinates to a hidden object
• Contains Magical Powers: This, of course, is the quintessential use of an accessory in fantasy. Whether it confers invisibility, superspeed, control over the elements, or more, an object in a fantasy novel can be a great repository of magical power. Examples: seven-league boots; magic mirror
• Contains Evil or a Curse: This, too, is a common (but important) use of artifacts in fantasy. A curse can lie unsuspected in a normal-looking object, posing a threat to all who draw near. Or, worse, an object may contain an evil being that the hero must conquer. Examples: JK Rowling in the Harry Potter series has done an excellent job in hiding evil in the most unexpected places--under a turban, in the first book, and inside a cursed necklace in the sixth; Also, Frodo's ring contains a definite evil, I'd say.

As you can see, the use of accessories in fantasy is a crucial art to master, and one that gives fantasy writers many possible tools to help or hinder the heroes along their quests. Comment below and let me know if you remember any particular accessories from fantasy stories you've read, or if you have special accessories in your story that are meaningful in any way.

Fantasy Settings Around the World

Typically, when I think of the setting of fantasy books, the image that comes to mind is medieval: girls in long dresses, curses, castles, dragons, dungeons…you get the picture. But fantasy settings can actually span the whole course of history, plus some more. In fact, the settings that you draw inspiration from in creating your fantasy world can be any culture and any time in history.

 So before you decide to stick with tradition, why don’t you take a look at the wide range of possible settings that fantasy has to offer. Here’s a list of the pros & cons of fantastic times and places to get your imagination fired up.

1. Medieval

• 
  Examples: Ella Enchanted by Gail Carson Levine, Eragon by Christopher Paolini, Ranger’s Apprentice series by John Flanagan, most books by Robin McKinley

• Pros: Lots of traditions and ideas in literature to draw on. Plenty of examples to study. Also, the medieval setting is perfect for fairy tales with their usual delightful magic.

• Cons: can be very, very, very extremely cliché. You can exploit these clichés, as Patricia C. Wrede did in her hilariously witty Enchanted Forest Chronicles. However, if your story is the same old-same old that readers have read so many times before, they might get rather bored.

2. Arabian

• 
  Examples: Castle in the Air (part of Diana Wynne Jones’s Howl’s Moving Castle series), The Book of Wonders by Jasmine Richards

• Pros: much less cliché than a medieval fantasy. Plenty of atmosphere.

• Cons: needs careful research. Also, since Arabian culture is so tied to Islamic culture, there may be religious complications or overtones in your setting. Plus, you’re pretty much forced to use a genie or two.

3. Oriental

• 
  Examples: Book of a Thousand Days by Shannon Hale (Mongolian fantasy), Eon (which I don’t recommend, incidentally, but it is an example of Oriental-style fantasy)

• Pros: very unique, even more than Arabian. Works well with dragons and the color red.

• Cons: Again, it does require some research to make it seem authentically Oriental. Plus, again, the major religions of either Buddhism or ancestor worship really clash with the Christian worldview and faith.

4. Egyptian

• 
  Examples: Kane Chronicles by Rick Riordan (which are technically modern fantasies, but they’re the closest I could think of to Egyptian)

• Pros: As with Oriental fantasy, it’s very unique—so unique I couldn’t even think of a true example of one. Plus, those pyramids are just begging for fantastic explanations, right?

• Cons: Again, there’s the Ancient Egyptian religion to deal with. It’s a very messy mythology that doesn’t really make sense, but a book set in Egypt without Egyptian mythology seems incomplete.

5. Ancient Greek/Roman

• 
  Examples: Percy Jackson series by Rick Riordan (again, technically modern fantasy, but with a few elements of the ancient settings as well)

• Pros: Once again, it’s unusual and not entirely cliché, although it does seem like Ancient Greece has been done a lot. Personally, I think it would be fascinating to take just a few elements from this time period—togas, for example—and insert them into a medieval fantasy world just to see the damage they’d cause.

• Cons: It requires research, of course, just like most other settings. And as with Egyptian fantasy, there’s a whole load of mythology to deal with and explain or eradicate (which also begs the question, can/should Christians write a non-Christian mythology? But maybe more on that question in my next post).

6. Other Historical Time Periods

• 
  Examples: Peter’s Angel by Aubrey Hansen (soon-to-be-released, set in a fantasy setting that’s much like the American Revolution), The Little White Horse by Elizabeth Goudge (a beautiful book written in flowing old style set in mid-1800s England), The Fetch by Laura Whitcomb (ties in the Russian Revolution and WWI)

• Pros: Tons of freedom to explore elements of history and setting from any time in history that strikes your fancy, whether Aztecs and Incas or African legends or Indian tales or WWII-era fantasy. If you can dream it, you can write it. Sweet deal, right?

• Cons: The more obscure the time period you use, the less people will be familiar with it and the more you’ll have to research and carefully explain everything.

7. Modern/Crossover

• 
  Examples of Modern-only: Percy Jackson series (see above), Raising Dragons by Bryan Davis, The Secrets of the Immortal Nicholas Flamel series by Michael Scott, The Dark is Rising by Susan Cooper

• Examples of Crossover: Chronicles of Narnia, Inkheart series by Cornelia Funke

• Pros: not as much research involved and less explanation required. Much easier for modern readers to relate to modern characters in a modern world.

• 
  Cons: Let’s face it: these two types of fantasy have been done over and over again. They’re almost as popular as medieval fantasy, if not more so. Still, popularity has its reasons, so even though it’s cliché it’s a popular cliché.

• Tip: If you’d like to write modern fantasy, try setting your story in an unusual but modern setting, like what Susan Cooper did by setting her Dark is Rising series in Scotland. That added a lot of atmosphere and character to her stories that many other modern fantasies lack.

8. A Whole New World

• 
  Examples: Princess Academy by Shannon Hale, The Lord of the Rings (although it does stem from medieval fantasy in some ways), A Series of Unfortunate Events by Lemony Snicket

• Pros: You get to create your own world, unconnected from any culture on earth! What could be more exciting for a writer than pure world-creation?

• Cons: You have to create a whole entire world. Isn’t that a little much to ask of a mere human? Shouldn’t we leave world-building to God? Theological questions aside, creating a cohesive and non-cliché world is a huge task, so don’t start on it lightly. It’s often easier to take a certain time or place as a starting point and build from there rather than creating from scratch.

Since we’re talking about fantasy, it’s impossible to summarize all possible settings in one post. So why don’t you share your story’s setting, plus any inspirations you may have gotten from historical times and places. I look forward to hearing your thoughts!

Books on Writing

I'll be the first to admit that my writing could use improvement--and a lot of it. And, while there's plenty to be said for gluing yourself to a chair and typing until your writing improves, there's a lot more to be said for using the writing resources that others have already created. So in today's post I've listed some of the major books on writing that have helped me in my writing journey.

Yes, I know what you're thinking -- more books to read? Well, think about it this way: it's an investment into your writing and yourself. And, what's more, you don't need to buy these books (that's what libraries are for!). Once you get them, just read them a little at a time (a chapter every evening, for example) or skim them for the most helpful parts. Don't be overwhelmed; check out the links and bookmark them/write them on your library list for future reference!

Now, without further ado, my writing resource list:

Techniques of the Selling Writer, by Dwight Swain (I also have a blog post on it here.)

Writing Fiction for Dummies, by Randall Ingermannson

Live Writing, How Writers Work, and A Writer's Notebook, by Ralph Fletcher (They're written for young writers, but still have plenty of wisdom for the rest of us.)

The Elements of Style, by Strunk and White

Plot & Structure, by James Scott Bell

Stein on Writing, by Sol Stein

Self-Editing for Fiction Writers, by Renni Brown and Dave King

Outlining Your Novel, by K. M. Weiland (Even if you don't enjoy outlining, read this book, and you may be surprised.)

Getting into Character, by Brandylin Collins

The Art of Fiction, by John Gardner

Story, by Robert McKee (Essential for all writers of screenplay, and good for the rest of us too.)

Writing the Breakout Novel, by Donald Maass

Writing Magic: Creating Stories that Fly, by Gail Carson Levine

Seize the Story, by Victoria Hanley

For fantasy writers in particular, I highly recommend reading J.R.R. Tolkien's essay "On Faerie Stories" (from Tolkien's Tales from the Perilous Realm). I also recommend Orson Scott Card's How to Write Science Fiction and Fantasy.

For poetry writers (yes! at last!), I absolutely love Mary Oliver's A Poetry Handbook and Ted Kooser's The Poetry Home Repair Manual. Both are invaluable to any aspiring poet.


Now it's your turn: what books on writing and/or writing resources have you found to be most helpful?

A Few of My Favorite Books

Today I'd like to try something a little different. I won't be posting elegant synopses of writing techniques guaranteed to spark your creativity (not that I ever did that!), and I won't be writing about the specifics of a fantasy world--the people, the places, the colors, the things.

Instead, I'd like to hear from you. Remember how, in my last post, I talked about reading books in your target genre? Well, today I'd like to explore the genre of fantasy. What are some of your favorite fantasy books? Just a simple list or a few titles will do. Tell me your favorites, please!

And here's my own list, for good measure. If you haven't read these books yet, I definitely recommend you try!

The Lord of the Rings, by J.R.R. Tolkien (a must for every fantasy writer)

The Harry Potter series, by J.K. Rowling (Even though many people find problems with the magic, this series is one of the most popular young adult series of our time. It's important as writers to know what our audience loves to read.)

Inkheart, by Cornelia Funke (The sequels weren't quite so good, but Ms. Funke certainly has a gorgeous way of spinning words, and the story here is fabulous. Worth a read. Also, Funke's story Dragon Rider is a heartwarming and humorous tale. Definitely read it.)

Ella Enchanted, by Gail Carson Levine (Hilarious twist on a classic fairytale)

Princess Academy, by Shannon Hale (A compelling world with vivid characters, and thankfully free of objectionable material. If you're female, I'd definitely suggest reading it.)

The Little White Horse, by Elizabeth Goudge (An older story, true, with all the delicate beauty of the 18th century. However, in terms of Christ-honoring fantasy that's well-written, this book is one of the best that I've found.)

The Blackbringer, by Laini Taylor (An unexpected gem. One of the absolute best modern fantasies I've read, and again, nicely free from objectionable stuff. An awesome villain and an excellently crafted world, complete with a hilarious heroine named Magpie.)

The Dark is Rising, by Susan Cooper (A story that feels older than it is, with lots of Celtic and Welsh legends interweaving throughout. Somewhat mystical and packed with symbolism. Cooper's unique voice definitely makes it worth a read.)

The Complete Fairytales, by George MacDonald (These were inspirations for both CS Lewis and JRR Tolkien, and they're absolutely lovely stories. They felt like they'd leaped straight out of the brothers Grimm. Also, MacDonald's The Princess and the Goblin is lovely too.)

Dealing with Dragons, by Patricia C. Wrede (A laugh-out-loud twist on every cliche known to man. Read it as a family! The sequels are good as well.)

The Percy Jackson series, by Rick Riordan (I don't know how you feel about ancient Greek gods, but despite the strange premise of the story, I love Riordan's sometimes sarcastic and always funny voice. It's good to learn how to write for a modern audience. Also, the series also scores points for teaching ancient Greek mythology.)

Something by Robin McKinley (I especially enjoyed The Blue Sword and The Hero and the Crown. Also quite worthwhile are her two Beauty and the Beast retellings, Rose Daughter and Beauty. Probably most appropriate for 13 and above.)

The Phantom Tollbooth, by Norton Juster (I guarantee that this book will make you look at the world in a whole new way. A boy takes a journey through a land where words grow on trees, sounds take shape, and Rhyme and Reason are the damsels-in-distress. Awesome read for the family.)

The Chronicles of Narnia, by C.S. Lewis (If you haven't read these yet, there must be something gravely wrong with you. At any rate, I envy you, because reading these treasures for the first time is a pleasure that few other books can bestow. Plus, the spiritual undercurrents in Narnia are excellent to observe and imitate as Christian writers.)

I suppose that sums up my list, at least for now (I may add to it later as more titles come to mind). At any rate, I believe the books listed above represent a wide range of fantasy, both new and old, tried and true, Christian and non-Christian, popular and unknown. Each of these books is certainly worth your time.

Now, come, tell me your favorites!

5 Simple Ways to Kill Your Villain

Today's post is easy as pie: five ways storytellers have killed off villains before--and the pros and cons of each one of them. Plus, I've included a bonus point at the end. So pull on your gloves, and let's get down to business to defeat the Huns! Er, villains. Or both.

1. Falling from a height

-- Examples: Tangled, Lord of the Rings: Saruman
-- Pros: doesn't force the MC to kill the villain, which satisfies your reader's sense of justice. The MC doesn't have to resort to morally evil means to kill the villain.
-- Cons: very overused. Can also seem like a "deus ex machina," otherwise known as unrelated elements taking a hand in the climax to provide an instant happy ending. Too easy, in other words.

2. Suicide

-- Examples: Saul in the Bible, Denethor (Steward of Gondor) in Lord of the Rings
-- Pros: the villain is messed up already anyway! Psychologically, if he's set up for it, then it works nicely as a logical result
-- Cons: only works if the character has the psychology and situation for this. after all, villains have ambitions and goals, and they think these goals are justified (in their own view of morality), so they wouldn't be likely to just abandon their schemes and kill themselves on a whim

3. Villain's Plans Backfire

-- This form of death is when the villain's plans are turned completely on their head, and he ends up with the punishment that he was going to bestow on the hero.
-- Example: Jafar from Aladdin wants to become the most powerful genie in the world but does not realize that he will also be a slave to the lamp; in Batman Begins, *spoiler* the villain is caught on train that he was going to use to blow up the city's water supply
-- Pros: satisfies our sense of justice
-- Cons: can be very tricky to set up. Plus there's a fine line in whether the hero has the option of sparing the villain's life

4. Killed by Sidekick

-- Examples: Saruman in LOTR is killed by his henchman Grima Wormtongue; Scar from Lion King is killed by his henchmen the hyenas.
-- Pros: good because hero doesn't have to "dirty his hands" in killing the villain
-- Cons: don't let this be a cop-out option! set the villain-sidekick interplay well beforehand, and make sure the hero still has the main role in defeating villain. Perhaps hero saves villain's life, but sidekick, in a fit of jealous rage, kills villain. The important part is that justice is served in every way.

5. Killed by Hero

-- Examples: Maleficent was killed by a direct stab from the prince's blade; in the Star Wars saga, Anakin {a hero at this point} kills Count Dooku under prompting by Darth Sidious/Palpatine
-- Pros: it shows the hero has the strength to do what it takes to defeat the villain; he's not willing to let someone else do the dirty work for him.
-- Cons: morally...a tough question. For Anakin in the example above, Count Dooku was begging for mercy and Jedi laws said that unarmed foes should not be killed. After all, when you kill your enemy after he's down, doesn't that make you just as bad as the villain? There could also be lingering guilt questions and unsolved tension in your reader (and that's the last thing you want at the end of your story! You want the reader to finish with deep admiration of your hero. Or, you probably do.)

Bonus Point: Killed by Fantastic Powers

-- Hey, guys, this is fantasy, and we are the writers. We can kill our villains however we want to!
-- Examples: the wicked witch in the Wizard of Oz dies by melting
-- Pros: works brilliantly in fantasy books. After all, you have magic, so why not use it for the best possible use--killing the bad guy?
-- Cons: unless the powers are set up well beforehand, this can seem like a cop-out, like you're taking the easy way out. You still need to make it difficult--in fact, almost impossible--for hero to kill villain.


Naturally, countless more ways remain to kill villains. What are some of your favorites? Can you think of other examples? Happy writing!