How to Write Fantasy

Imagination writing

You' re going to write a great fight scene in your fantasy novel or story. You have to follow some basic rules. He explains here how it works. Even though you let your imagination run wild when writing fantasy fiction, you could still follow overused storylines and cliques. Orson Scott Card, winner of the Hugo and Nebula Prize, is a prolific fantasy and SF writer who also offers helpful advice to writers.

Making magic work

Let us speak of witchcraft. But we need new realms, we need witchcraft. To do this, the secret is to make a magical system that is convincing, logic (to a certain extent!) and well-done. You probably know a whole heap more about your personalities than you tell us in your novel. There is a background story, a story of infancy, a story under the skin that makes up the small part of the personality we see.

Now, the same goes for magical regimes. So whether you want to go into detail on how your world's magics work or not, it is certainly to say that it is an advantage if you as an writer know their peculiarities. It will help you to maintain consistency in your history and avoid contradictions when you use your spells (in history - not in reality - put down your wands).

Well, to put the magical into action. It' s an easy idea: if witchcraft does nothing to promote the characters or the storyline, it's not really inappropriate. This means that the most convincing magical system is connected to your characters, conflicts or history in one way or another.

So, if your avatar is a wolf, for example, you need to show how he is struggling to be a wolf, how he can't get near anyone because he is a wolf, or how he is trying to find a heal. If you decide whether your witchcraft is worthy of being included, ask yourself these four simple wonders.

Do you feel that the magical influences your personality on an emotive plane? Causes conflicts with sorcery? Is it the same without the magical? Were the protagonists the same without the mage? When your spell makes no distinction for the storyline or your protagonists, it must unfortunately be burnt in the fire of work.

When you want to go one stage further - it's no joke - ask yourself, even if the answers are "yes, it affects character" and "yes, it drives the action forward". It'?s quite possible that witchcraft has a function, but not enough.

You' ve listened to the council that if you can write something other than, then do it, typing is a tedious procedure full of failures and perspiration. Now, the same may be the case for working with sorcery, if your storyline without sorcery can have the same effect, you should try it first.

I am not a big supporter of sending a letter to a certain public, or that your target public changes the way you write. So I think you need to write the best script you can and move on from there. But if you know the genre of the novel you want to write and whether you are a novel for adults, a novel for young adults or a novel for the mid-range, it can help you create and explain (or not explain) your own fascination.

If you write for children, you may not need so much to explain your magical system. However, don't let that deceive you, children are wise, they can take a great deal, so you still need to be consequent in how you use your spell, and you need to bring it in in a persuasive way.

As an alternative, if you want to be clear about how it works by making available certain regulations, special policies, and so on. "And therein resides the issue of fantasy for a grown-up public. There' s a dogma that grown-ups are too old for a little bit of mage. Let us divide the grown-up public into two categories:

1. grown-ups who have difficulty shopping into a magical tale, and 2. grown-ups who love the fantasy world. First group of humans is difficult to gain and will most likely need a magical system that is subtl. You want a storyline that first investigates the characters, perhaps with a hint of magical in the back, or perhaps magical used only to unveil the char.

When your storyline crosses the line between literature and fantasy, you may be able to catch this public. This ardent fantasy fan has probably read Fantasy for a long while and will no longer be struck by the same magical system they have seen over and over again. Satisfying this crowd requires either a magical system that is at least something new, a magical system that runs in a new way, or personalities and a storyline so good that they have nothing against some kind of magic they've seen before.

When we return to the first rules and act as if the magical system were an Iceberg then how much remains above the planet's superficion? It' up to you and can be done in different ways according to the type of spell. There are different kinds of magicks that are more likely to be obscure than others.

In Patrick Rothfuss' Kingkiller Chronicles, for example, there is a deep roots of magical knowledge in a kind of scientific discipline and therefore profits from a thorough understanding. But on the other side, the magical part of fiction like The Lord of the Rings is imbedded in the realm and remains unsolved to expand the secret and implicit story of the central planet (why does the ring make humans disappear?).

Susanna Clarke's Jonathan Strange and Mr. Norrell know that wizards use sorcery through sorcery and in-depth studies, but how exactly these sorceries work is somewhat puzzling in part. Dependent on the kind of spell you use in your textbook, it may matter how much you unveil - whether it's a complicated system of quick and easy simple hints or a mystical force nobody knows much about.

All in all, these are great things to think about when you write fantasies. Come into your novel with a fixture list for what you want your Magic to see and do can help you begin. Sometimes the best way to find out your magical system, your audiences and the extent and form of your berg is to write well.

I would like to learn about the different kinds of magical system you have come across in both your writings and diction.

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