Fantasy Story Writing Ideas

Writing Fantasy Story Ideas

The book is a mixture of short and long science fiction and fantasy stories to give you a variety of challenges to choose from. This are some ideas for stories that I have, feel free to choose which you want me to write in the comments section. These range from plausible to crazy fantasy/sf plots. Want to learn how to write fantastic fantasies? This is the great thing about writing a fantasy story - it's fun to write and your imagination can do it.

Fantasy-story starter: Write prompts for children

Enter your first name: Select your note to begin: Choose a file for your story: All Done! Tell your story here: Words so far. This will open your story in a new window. If you see it, touch the touchscreen and use the Open In drop-down list to open your story in iBooks.

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Use magic creatively in your fantasy story

Back to Speculative Felm-print/mobile-friendly version How to make an interesting kind of fantasy game? In your destiny, will sorcery be like a trumpet? Will you have different shapes, like Tolkien in The Lord of the Rings, where the powers of darkness use sorcery like a dozer to acquire might, while the fairies have a beautiful natural world that is magical because everything they do is "effortless, faster, more complete" than the skills of those around them?

Fantasy mythology has magical powers as the key nerve system. Demanding, interesting witchcraft, on the other side, can drive an astonishing, miraculous story. He or she can contribute to this incomparable sparkling that raises the imagination over other ways of writing that must keep their foot on the floor of believable realities. It doesn't have to be logical, but it has to work well.

Maintain consistency in the laws of mage. Magical work must follow fixed principles. Don't make out of the sky unpleasant surprise to rescue your character - the fictitious analog of taking a bunny out of a canopy. Then the author (and his characters) must abide by these magical principles, even if they are intricate.

The things that go into history must have their full impact. Like Jane Yolen in Writing Books for Children (1983) wrote: "Writers' creation of the realm may have the law that the people are nothing more than a card game, that pets talk in an intelligent way while fooling around in a boat, or that a magical ring can make its wearer unseen at the long, low costs of its souls.

You have to work as safely in the fantasy universe as the force of gravitation does in ours. "2 "2. Limit the power of your sorcery. In order to have dramatical effect, as important as the forces of witchcraft are their limits. There is no point in acting when the power of your spell is omnipotent, when a staff is swung and all your issues are over.

Harry Potter's Harrys Neemesis, Lord Voldemort, has great power in the Harry Potter series. Which will be the limits of sorcery? In order to be efficient, the use of witchcraft may involve some very special action, tool or skill, or the involvement of several different players, or any restriction that makes the story more interesting and creates suspense and increases our fear that things will not work for our lovedoes.

Maybe the power of witchcraft is lost with the removal of a well. Those limits of creativity can be as interesting as witchcraft itself. Freshen up the mystery and make it interesting. Like the writer Garth Nix said, it should be more interesting to have a little witchcraft than using an electrical cooker or a gun. Inquisitive variations of the magics reach from the use of paper mage ( "Origami" by Leah Cutler), turning a man's skull into the heads of a donkey ( "Shakespeare"), to making a witch or a violin from the bone of a corpse that speaks of a homicide (an old folk fairy story from many cultures).

But on the other side, any ordinary instrument - a reflector, a magical stick - can be interesting when used in a new way. And he' dabbled, his lefthand and said something or exhaled ardently. "4 "4. Make witchcraft apply to history. Magick should have a significant influence on the character to make the story more interesting, and not just a fun and forgot point or a game.

So what are the implications of it? Good or evil sorcery, the consequences should not be apathetic. Inquire how the magical powers transform the character - or even the whole game. The young Ged's supervisor, the Master Hand, told the young magician: Provide images that help us visualise your magical powers in real time.

When someone in your textbook is magical or uses magical, can you show us how it works or how it is like? He had a little involuntary movement in his lefthand part. "This is a depiction of it! It' s full of palpable images and cadences of poetic - the kind of writing that those who are reading Le Guin's fiction hang on.

Unsettle the spell. It follows that when you are so strong, it is not always fully understand. Magick should be mysterious. Wizardry is mighty and often insecure, even perilous, even for one's own practitioner. The Sorcerer's Apprentice finds witchcraft useful at first, but once released, it causes chaos.

There is a long, complicated study process in the Harry Potter tales. You have to do just that, or you run the chance of failing, initially with comic effect, when the Hogwarts disciples mess up their teaching and struggle with recalcitrant mystical plants, growling beings and sibilants. Don't make sorcery bigger than the basic story of man.

In this case, the mystery comes out of the sky, but the subject of home is not. In order to construct a mystical system for your story, ask yourself how you can make the most interesting one. Playing with all options: mechanic appliances, drinkers, spoken enchantments, keen minds, inner powers, any little wonder or big twister of sorcery.

Put the focus of the story on the magick. Watch how your character is affected by the course of time. That' s the true magic: to be able to do everything you can think you can to make the most mighty magician stick in the fictional universe, but then find out how to use it to make a story more interesting, not less.

The New Writer's Handbook, an award-winning yearbook on the art of literature and careers, is the publisher of several works, among them A Guide to Fantasy Literature (2009); parts of this paper are from this most recent work.

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