by Paul Jessup
Novels are hard, yo. I mean, books in general, maybe writing overall? But for me making that leap from short stories to novels was a difficult transition. I had to completely change my writerly habits, completely reinvent the ways I was doing things altogether.
by Ken Pelham
World-building is more than misty mountains, crumbling castles, dripping neon cityscapes, and talking rats. It’s also about psychology and language, and the language equation includes the everyday corruptions of jargon and slang.
by Alex Woolf
One trend that I think is likely to have more enduring appeal is narrative non-fiction (NNF): the blending of story elements with non-fiction. Typically, this involves the author inventing characters and a simple plot device, such as a journey. Along the way, the characters discover real-world information, be it about science, history or geography. The idea is that by employing narrative techniques such as characterization, dramatic tension, dialogue and atmosphere, the process of information acquisition is made a lot more compelling.
We all know ‘an army marches on its stomach,’ but it’s not like Napoleon discovered something new. Vegetius (De re militari) and Sun Tzu (The Art of War) were well aware of this concept, as was Alexander the Great (Engels, Alexander the Great and the Logistics of the Macedonian Army, 1980). And it wasn’t news to them, either. Pre-modern military commanders knew this; they planned for this. They paid attention to logistics.
Fantasy writers should, too.
by Susan Forest There are as many paths into creating fiction as there are writers, and widely differing approaches have led to successful works. Entire books have been written how to plan a story; here, I will focus on one small process: translating the circular Hero’s Journey into a linear plot. This translation involves (1) […]
by Dan Brotzel
The philosopher of language Paul Grice (1913-88) is best known for his four conversational maxims, which describe what’s going on when people hold a conversation. I want to look at these to see how they can help us in crafting fiction.
by Alex Woolf
“Why do we always have to reinvent the wheel?” my editor once asked me.
When a new book is launched, it’s like introducing a stranger to a largely disinterested world. Potential readers know nothing about its characters or the kind of plot they might expect. Publishers are forced to spend a great deal of money on marketing to give the book a comforting, pseudo-familiar feel. The title and cover design will be reminiscent of other, similar books that readers might already have enjoyed.
by Ken Pelham
Your stiff-upper-lipped hero, Professor Jenkins, frustrated with the chicanery of Air Captain Hamm, pounds the table and shouts, “Good heavens, man! The scoundrel has hatched yet another outrageous boondoggle!”
Boondoggle. This is where your narrative gets stuck in the etymological weeds.
by Suyi Davies Okungbowa
It’s virtually impossible to do ALL of your SFF worldbuilding prior to writing your book/story. How much weight is given to each stage depends on the author (some prefer to do a lot before starting, some build nothing before writing). My own preference is to build the foundation–just enough to get me started, then build more along the way, and go back and change stuff after I’m done.
by Cameron N. Coulter
Since March 2018, I’ve been writing a monthly short fiction review column for Skiffy and Fanty. A year ago, I didn’t have too many thoughts on reviewing, but now I find I can have long conversations about it.
Hi, Rob Dircks here. I’m the Audible bestselling author of Where the Hell is Tesla?, and I’ve been writing and narrating these stories since 2016 on my podcast, Listen To The Signal. But now I’ve made them available ONLY here in this book.
Vylar Kaftan has published about 40 short stories in places such as Asimov’s, Clarkesworld, and Lightspeed. She was nominated for a Nebula in 2011. She’s the founder of FOGcon, a new sf/f literary convention in the San Francisco Bay Area.
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