Category Archives: Authorial Trust

When Disaster Strikes – Getting My Momentum Back

I’ve blogged on the Fictorians before about the infection that nearly killed me in 2014. What I may not have mentioned that outside of that scary situation and hospital stay, it really wrecked my writing momentum. This was February 2014. If we rewind back to mid-2013, I went into the most productive period of my writing at that point. From July 2013 to January 14, I wrote two novels. I wrote what became my debut novel SLEEPER PROTOCOL and another shorter novel that’s my tribute to Elmore Leonard called SUPER SYNC. In that six month period, I also wrote a few short stories and my overall total of words written was probably somewhere near 180,000. This was an incredible time and I really felt like I was getting into a higher gear when everything came crashing down.

After my illness, I barely wrote anything new for a year. Yes, I sold and went through subsequent edits on both SLEEPER PROTOCOL and an earlier novel RUNS IN THE FAMILY, so I was “writing” but I wasn’t writing anything new, which we all know are two entirely different things. But, in that period from April 2015 to January 2016 came the impetus for the sequel VENDETTA PROTOCOL and I decided to try my hand at a prequel to RUNS IN THE FAMILY. Writing was slow and arduous. There were several times when I wanted to simply give up. I was going to publish a novel, after all. I ultimately decided that I wasn’t going to be happy with one book on that shelf by my deathbed. It was time to write more, so in January 2016, I decided that it was time to get off my ass and write. I’d been incredibly productive before then, and I believed I could get back to, or surpass, my productivity. It just required self-discipline to get into the chair and write and a little faith that I would get better, both mentally and physically.

It was slow going at first, but I outlined an alternate history novel. From there, I went into the draft of VENDETTA PROTOCOL with the goal of writing it in three months. SLEEPER PROTOCOL took me 7 weeks and I figured I would need about double the time. Turns out, I wrote VENDETTA PROTOCOL in 9 weeks. Because I could feel myself getting faster and I trusted myself as a writer. Was it perfect? Hell, no. But I was getting it out of my head. I turned around from that draft and wrote a novella LANCER ONE. After that, I was asked to submit to a military science fiction anthology, so I wrote a 9,000 word story “Stand On It.” At the end of 2016, I started work on the alternate history novel I’d outlined in February-March. I worked on that draft into February of 2017.

Not long after I finished that project, my military science fiction anthology story turned into a novel titled PEACEMAKER. I wrote that novel in less than three months. During that time, I was asked on short notice to provide a story for the upcoming X-PRIZE: Avatars anthology. I had to turn it around in two weeks – I did it in a week. All of that “new writing” ended back in June of this year. I’ve been editing ever since. The results are crazy.

PEACEMAKER get worldwide release on August 25th. VENDETTA PROTOCOL gets an ebook release on September 13th and a print version following. The novella LANCER ONE is due out in October. The first anthology A FISTFUL OF CREDITS was released in June and is selling like hotcakes. The X-PRIZE anthology is due later this year.

Two weeks ago, I turned in the alternate history project to my editor/mentor. It’s the most difficult book I’ve written to date. I’ve now laid out a plan for the rest of 2017 and it’s ambitious as hell. I can get it done, though. My momentum is back. How did I do it?

Go back a few paragraphs. For me, it’s about putting my butt in the chair and writing. Yes, I plot and outline, but I’m also thinking about the books and projects all the time. I take a lot of notes. Some of them work, others don’t. The best ideas I don’t have to write down because they stay with me. Once I’m committed to writing the project, I let go of my inner critic – that little bastard that likes to click the backspace button more than he types. I write because I know that I can fix it later. I get the story out of my head. If it comes in short or over the desired word count, I go back and fix it. All of that is faith in myself. Will I make mistakes? Yes. Can I fix them? Yes. I’ve taken very strongly to the belief that I can fix anything in editing. The result is my productivity is higher than ever.

Let go. Have faith. Write.

Bring Your World to Life with a Map

As writers, we hear a lot about the importance of world building. This is especially true of fantasy, and is pretty much required for epic fantasy. It also is helpful in other genres, such as sci-fi or westerns. Building worlds is a multi-layered endeavor, and done properly results in a rich and varied setting that can be so compelling that the setting can essentially become another character.

One of the best ways to start down the path toward such a compelling setting is to start with a map. Maps force you to make decisions about things that will, or should, have direct impact on your characters’ journeys both figuratively and literally.

How far apart are the different areas your characters will travel? How long will it take them to get there? Will they have specific travel needs? What is the terrain like? Will they cross mountains, sail across seas, encounter impossible-seeming obstacles? Creating a compelling map is as much a creative endeavor as writing the story itself. But it does exercise different skills than writing.

There are excellent map creation tutorials on the internet. I’ve played around with some of the techniques, and used some of the programs. Long before I drew my map for my debut War Chronicles novels, I was drawing maps by the notebook-full for my role-playing adventure gaming sessions.

This article isn’t going to cover the technical details of map making though. Instead, I want to focus on the part of map making that is frequently overlooked and under-appreciated. Even the most beautifully rendered and creative map won’t help your story if all it does is lay out the landscape. For the map to be as useful to you, and as compelling to your readers, as possible, it should present your world as dynamic and alive. So how do you do that?

Here is what I do after the terrain has been laid out and rendered, more or less in the order that I do it.

  1. I work out the drivers of the world’s economies. That is driven by very basic decisions about things that are not immediately visible, but drive the evolution of cities, nations and geopolitics. These include answering the following questions for each area of the map:
    • What crops are grown?
    • What minerals are available?
    • What is the climate?
    • What is the seasonal weather?
    • What are the obstacles to easy travel?
  2. Next, I work out the location of the major cities. That is based on the following questions:
    • What proximity to navigable trade routes?
    • What is the population density of the area?
    • What will the climate and weather allow?
    • What technological level are the inhabitants?
  3. Then I work on the religions of the world, asking the following:
    • What are the major religions of the world?
    • Where are they based?
    • What are their religious teachings and dogma?
    • How powerful are they?
  4. Then I work out the geopolitics, based on more questions:
    • What are the natural boundaries based on terrain?
    • What sort of political system controls the area?
    • How do trade goods move through the world?
    • What is the history of each nation?
  5. Finally, I focus in on the current time, and ask the following questions:
    • What are the current political squabbles?
    • Which nations are allied with each other?
    • Which nations have long-held relationships?
    • Which nations are at war, and why?
    • Which nations care about the current wars, and why?
  6. And finally, I use all the above information to create what I call the “Movers and shakers list.” Which answers the following questions:
    • Who are the rulers of the dominant nations?
    • Who are the forces behind the thrones?
    • Who are the business leaders, and what are their goals?
    • Who leads the religious organizations?

In the end, my “map” ends up as a singular diagram, and a pile of notes describing each area individually, and what are the paths that people, goods and ideas travel in the world.

These notes are not generally large and complex. A few sentences answering each of the questions above is usually sufficient. Then, as the story is unfolding, I can use those notes to inform the narrative, providing logical rationale for why two cities are in conflict, or why a rich merchant wants to hire mercenaries, or just about any other question that needs to be answered to drive the plot forward in a plausible manner, which simultaneously peels back more and more layers of the world for the reader. Also, as the characters travel from place to place, I will know what sort of culture they are encountering, what local dynamics drive the behavior of the local populace, and who they need to seek out, or avoid, to be successful in achieving their goals.

Wouldn’t it be cool if…?

One of the funnest elements of a story can be setting. One of the most dangerous questions we can ask ourselves starts with, “Wouldn’t it be cool if…?”

Here’s my story:

In putting together my Mankind’s Redemption series, I placed my characters in far away star systems and then had

to ask myself, “How did they get there?” Time travel? For colonization, not likely. Generation ships? Most likely. Easy-peasy, right? But then, for every cool element I added to their world, to the aliens’ worlds, to every scenario, I had to ask myself the traditional reporter questions of what, when, why, how, and where. It got complicated, fast. The Mwalgi species dwell on a hot, toxic planet that lacks water and what they have is largely contaminated. Cool, right? Even more amazing, it orbits a red dwarf sun with a sister-dwarf-sun in a binary orbit. So their suns orbit

around a central point, swinging each other around. Cool, but complicated, and it added a lot more research. I learned a lesson. Sometimes these amazing, interesting settings are worth it, and sometimes you might want to consider what you’re getting yourself into. Knowing what I know now, would I do it again? Probably. It is cool, but I might have toned everything down just a little bit so I could spend more time writing and a little less time on plausibility and research. Just an FYI, this series is a Galactic Fantasy so I have some wiggle room in the possible but highly unlikely sector. For hard sci-fi, you have to really know your science and accuracy is key.

When I started my next series, Legends of Power, I set it in Kentucky. I went there, took pictures, did research, and restricted most of my “Wouldn’t it be cool if…?” questions to the magic system. I spent almost as much time researching reality as I had in researching scientific possibility. Hmm, not what I expected. Was it worth it? Absolutely, and if you ever get to Bowling Green, KY, I highly recommend Chaney’s Dairy Barn. Best ice cream I’ve ever had! (And some really cute cows.)

In The Number Prophecy, I set the books in a world with similarities to our own but significant differences in history, geology, religion, and sociology. So much fun! I get to explore so many aspects of humanity. Did I research any less? A little less on the physical setting, but so much more on all of the other aspects of my world and it’s people.

The moral of my story? No matter what you do there must be research. Everything is cool, from the craziest settings in your imagination–I’m thinking of a world where metal flyswatters hit you in the face every time you have an idea–to the most mundane, adorable, town in the midwest. Embrace it, enjoy it, and let the setting live as much as your characters. Give it equal, or possibly, even more attention that your protagonist. An interesting setting is the backdrop of interesting characters, interesting plots, and interesting conflicts. Put in the time to make it breathe and never be afraid to ask “Wouldn’t it be cool if…?” Just make sure you’re prepared with a good answer.

Colette Black Bio:
Author PicColette Black lives in the far outskirts of Phoenix, Arizona with her family, 2 dogs, a mischievous cat and the occasional unwanted scorpion. Author of the Mankind’s Redemption Series, The Number Prophecy series, and the new Legends of Power series, Colette writes New Adult and Young Adult sci-fi and fantasy novels with kick-butt characters, lots of action, and always a touch of romance. Find her at www.coletteblack.net

 

 

Building Epic Worlds

J. R. R. Tolkien famously created entire languages and histories as part of his creation of one of the greatest world building exercises in all of literature. Even that wasn’t enough to satisfy his desire to create a complex and vibrant world. He used those languages to create unique poetry and songs, which he then translated into English as part of putting the Lord of the Rings on paper.

Frank Herbert had reams of notes detailing the history, economies, royal house intrigue and genealogy of a “world” that was far too epic to fit even onto one planet.

Is it necessary to mimic their herculean efforts in order to create immersive, believable worlds for your own story?

No, it’s not. Certainly you don’t need to create entire languages.

But it can be helpful if your readers wonder if you did. And that might be easier than you think.

One of the more consistent compliments I get on my War Chronicles novels is on the depth of world-building. I made a determined effort in writing those books to create an epic feel, not just for the character story arcs, but for the entire world. Not just for the story’s time, but for thousands of years into the past. Not just for the physical geography, but for the spirituality and myth.

Sometimes less can be more. In that story we encounter an ancient empire, one that is tied to the current story through a thread that traverses millennia, and will likely continue on into the future. To create the sense of an ancient empire that was palpable and relevant to the story, I wove that empire into the story whenever I could, in the most natural ways I could devise. But I didn’t write a hundred page treatise on that empire, I didn’t create languages.

What I did, was to have the empire be remembered in the land itself. The great mountain range dominating the main continent is named after that empire. Ancient structures dot the landscape. Terms are woven into the language of the townsfolk, idioms and proper names woven together even through dialog.

The illusion all this brings forward is one of an ancient empire, so powerful that its great works of art, science and architecture are still the pinnacle of culture and technology. Bridges and temples not only still exist, but some are still maintained and revered by their descendants.

The same approach works for geography and biology. A little variety, consistently applied, can create a compelling sense of distance and scope. As your characters move through the world, change the details of the local flora, fauna and terrain. New sights, sounds, even smells can delight or disgust your characters, which flows through their eyes and into the minds of your readers. Smell, in particular, is a very powerful memory aid. If you can associate a place in your book to a smell the reader recognizes and has a strong emotional response to, you can almost guarantee that place will stand out in their mind as they read it.

Finally, one of the most powerful ways to give a sense of world-ness to your story is to weave these different techniques together. Flowers can be associated with ancient rituals. Tolkien almost literally wove his history into his scenery. Think of the Dead Marshes, The Old Forest, Fangorn forest, Lothlorian… each place unique, each place memorable, each place as much a part of the myth and folklore as it is a part of the physical geography.

Once you start thinking about the story this way, opportunities to use these techniques will appear as you write, or as you edit.