Flash Fiction Fridays – The Goal

This week’s flash fiction is from the universe of Aurelai. Hopefully you all find it interesting!

~~~

He tapped his long, bony fingers against the stone arm-rest of his throne. His bulbous eyes focused in on the connection he was maintaining between himself and his denizen. The creature had found the ruins in that other place, had found the source of power, and was waiting for the pursuit to catch up. It wasn’t the smartest of his subordinates, but it was the only one who wouldn’t appear too threatening to the beings of that other planet.

Non-threatening was key here if they were to deliver their message to these humanoid creatures. And it had been ingrained in them that they were to bring the son of shadows here. He didn’t know who that was, but this seemed like the best start on it. Up until recently, they’d been unable to make any headway at all. They had fought with Aurelai’s surface dwellers for a place in this world, for a way to access the Gate that would lead them to the son of shadows. But he hadn’t been able to use it.

The way to that other place and the coordinates given had been useless. The Gate let the surface dwellers go other places, but it never admitted him or his men when those numbers were entered. He knew the Gate worked. He could feel the hum of energy right up until he fed the coordinates in his mind into the machine. And then the magic sputtered to a stop and the gears inside ground to a halt.

But after centuries of surviving against all odds, they finally had broken through. The Gate had flashed and sent out a beacon with those coordinates, and he’d sent someone through. Now, he just had to wait.

Waiting was the hardest part, of course. He reached out with his mind, breaking the link with his subordinate. Nothing special going on over there. Until the Gate brought someone else to this world besides returning surface-dwellers and their goods, he didn’t care too much about what his liaison did. The runt was always a bit on the dull side, but it knew how to communicate well enough, so it served a purpose.

Heaving himself out of his chair, he clopped across the hall on his hind legs before dropping to all fours. Walking like the surface-dwellers became easier every day. Maybe if he kept working at it, he could finally gain freedom from this wretched prison. But until he looked like them, they would never accept him. And while his projection allowed him to appear human enough to them, he couldn’t hide a strange gait or awkward speech. But someday. Someday, he would be free to mingle up there. Free to find out what all the fuss was about in that cloud city. And he would find out himself. Maybe if he could understand them and their culture, the senseless killing of his people could stop. They were different, but that didn’t mean they were inhumane. It wasn’t their fault their creator made them with a goal that overrode any sense of humanity in them. But the goal didn’t control everything, and someday, once the son of shadows came, it would be gone. He would be free.

~~~

And there you have it! That’s it for this week. Have something you’d like to see in this section of the blog? Feel free to leave your suggestion in the comments below!

Saturday Setups: The Extent of Magic

December 14, 2019 Ariel Paiement

Introduction

We’ve been discussing magic in our Saturday Setup posts the last few weeks, and this week is no exception. This time around, though, we’re going to talk about extent of magic use and some tips for how you can determine that. Figuring out how much magic to use and how many characters can use it is a bit of a daunting task, so hopefully, this will shed some light on that for everyone!

Consideration #1: Sub-Genre

Before you do anything else, stop and think about the sub-genre you’ve chosen to write. If you don’t know much about it, do some research and learn about the different common elements, such as magic, in the sub-genre. I’ve posted quite a few articles on different sub-genres of fantasy on my Sunday Sub-Genres section of the blog, so if you’re looking for somewhere to start, you may find something helpful there.

Regardless of where you do the research, you need to understand how much magic is incorporated into your sub-genre. If there’s not a lot, you’re already starting at a less intense starting point than you would with a sub-genre that throws it in everywhere! Key takeaway here: know your genre.

Consideration #2: Consequences

Okay, when you built your magic system, you probably built limitations into it. If you didn’t, see my post on building magic systems to gain a better understanding of why you should! But, assuming you have limitations and rules in place, these are a great place to start in determining how much magic use should be involved.

If you have a system that is built on the premise that everyone has magic, then magic use is going to be quite high. Almost everyone, if not everyone, will be using some form of it, and there won’t be a ton of dreadful consequences for normal magic use. For instance, in the Aurelai universe, most types of magic don’t exact a high price. There is regular magic use, and no one dies or loses something precious to them just for using their magic in a responsible, every day manner. In a system like this, magic can be expected to be seen everywhere.

But if you created a system where magic requires a high price even if one can wield it… Well, your protagonist, at least, and maybe even your antagonist, are not going to be so keen on using it. For example, in Pathway of the Moon, there is a way that those trying to perform extremely high-powered magic can gain the energy they need to do so from other people to avoid draining their own life source. But you have to pay an extremely high price: your own sanity and physical health, depending on what the magic chooses to target. You don’t get something for nothing. So, most people aren’t willing to perform that kind of magic. It’s a powerful deterrent for those who are sane and even a little bit concerned about their own health, if not that of others. While this doesn’t limit my whole system in this series’ case, it certainly does place a limitation on the extent of magic. It means that certain kinds of magic aren’t so likely to occur on any regular basis.

Consideration #3: Likelihood

This sort of goes hand-in-hand with the previous point, but take a minute and think about how common magic is. Does everyone have it? Only a select few? Does everyone know it exists or is it something that’s kept hidden? The answers to these questions and others like them end up determining if it’s likely that a character could use magic to solve a problem or in every day life. Sure, it might exist, but if the likelihood of use is low, then you’re probably not going to see magic everywhere in the book. On the other hand, if the likelihood is high, you’re likely to see it everywhere.

Consideration #4: Usefulness

Let’s face it. Some magic just isn’t all that helpful on a quest to save humanity or when facing down a man-eating, fire-breathing dragon. And in those cases, characters probably won’t be using their magic to help themselves out. The extent to which this consideration affects your story really depends. If it’s limited to certain types of magic a person might end up with, then it might not change how often magic is used or the extent to which it is used. Of course, if this extends to every kind of magic, then magic, while it may exist, is fairly useless for the purposes of the characters, and it will end up sidelined unless needed to heat a can of soup. You get the idea, hopefully.

Consideration #5: Society

One other major thing to consider is society itself. While there might not be a limit on what magic is capable of doing, there may be a societal stigma against it or a ban that prevents it. Or, the opposite may be true. Perhaps society ostracizes those who aren’t able to use magic of some sort, so those who can’t must find a way to pretend they possess it. The possibilities are pretty endless, but if you have a society like this, it’s going to affect the extent to which and the way in which magic is utilized in your story.

Conclusion

There are, of course, many other ways in which magic can be limited or expanded in its extent and use within a book. But these are the main things I’ve seen and used in determining the extent of magic in my books. Really, you have to tailor your approach for each series or each novel/story. No one story will be the same as another, and some may call for more magic than others, even within the same series. It all depends on the focus of the story or series and what you’re trying to accomplish. However, these key considerations should help you get started.

Have other considerations that have helped you to decide how much magic is enough? Feel free to drop them in the comments below! If you have a suggestion for a future discussion topic on Saturday Setups, please don’t hesitate to either email or leave a comment!

Work-In-Progress Wednesdays #30

December 11, 2019 Ariel Paiement

This week’s main work-in-progress has been Pathway of the Moon. With eleven chapters left to a total of sixty chapters, this books has been a major undertaking. It’s the longest project I’ve ever worked on, and it’s hard to believe that, a little more than a year after I started it, it’ll be finished, at least in its rough draft form. I’m really excited! This week’s WIP section comes from the last chapter I completed.

~~~

LEO rubbed his eyes and stared at the pages in front of him. They’d come no closer to answers with their night of studying than they were the day before. Books and scrolls donated to their work by the scholars from the Argos Records Library and their new friends among the Disciples of Rith lay scattered everywhere. Amadeira had fallen asleep at some point, her head resting atop one of the smaller tomes they’d received. He sighed and set aside the diary.

He’d learned a great deal more about the things he was, supposedly, capable of, but in all that searching, nothing to explain the problems with the Pathway. His blood should have opened it. And it had, but now the Pathway was broken, allowing no further travel to and from their world. He’d discovered only one thing in all his searching.

Pages were missing from the diary. Who knew what they’d contained or where they’d gone. Maybe they were another prophecy. Maybe another explanation to help him, the Son of Shadows, find his true path. But so far, he just felt like his head might explode, and he wanted to throw the book across the room.

He stood and rubbed his temples. Maybe fresh air would help. He glanced over at Amadeira. Still asleep. She shivered slightly in the draft coming from the window. He walked over and latched it shut before snatching a blanket from the seat beneath it. Then he returned to Amadeira and settled the warm, scratchy wool over her sleeping frame. She whimpered but didn’t wake up.

Satisfied with that, he left her to sleep and meandered out into the halls. His aimless walk led him to the gardens, the still crisp air of early morning washing over him. He settled onto a bench with a sigh. All the things he’d learned about himself and the frustratingly elusive solution he needed permeated his mind, refused to let him relax. Two days of searching for nothing. Leo buried his head in his hands with a groan. What good did it do him to know he could use the shadows to teleport or that he could quite literally touch another person’s soul with them if he was unable to solve the issue they most needed to solve?

“You look restless.”

He glanced up to find his mother staring at him with arms crossed. “What are you doing up so early?”

“I’ve been an early riser for quite some time.” She settled beside him. “But you were too busy dispensing justice to others to notice.”

He frowned. “What?”

She fixed him with a stern gaze. “Did you think I had no idea what you were doing? What you were trained to do?”

His frown deepened. “You mean you knew the whole time?”

“Suspected at least. And when you went traipsing off on some secret mission, I guessed the rest. They’re saying you defeated Kiarhsu while you were away. The least you could have done was tell me the truth.”

He sighed. “I couldn’t. They wouldn’t allow it.”

“Before that, you could’ve.”

“I didn’t want you involved.”

She smiled and took his hands in hers. “I know you didn’t. I just wish you hadn’t gone through everything alone. I heard from Amadeira that the king’s making you his liaison with the nobility.”

He nodded.

“So what has you so down?”

“Honestly?” He sighed. “Too many things.”

“Very well.” His mother squeezed his hands and stood. “Walk with me, and tell me what you can about it.”

He complied with a worn out smile. “Where to start?”

“How about with the trip? I’m certain that’s where some of these troubles are stemming from.”

He laughed sadly. “Yes, some of them. Actually, most of them.”

“What’s troubling you most?”

“The Pathway. We found it, and I opened it because I wasn’t given a choice.”

“Weren’t given a choice?”

“Well, when it’s between letting the one who owns your heart die and saving them by sacrificing yourself to open a Pathway… What would you do?”

She smiled. “You love that girl a great deal. A very large change from when you first met her.”

“I was just trying to protect her back then.”

His mother snorted. “You just didn’t want to pull anyone else into your fight. You were afraid of getting attached and losing her.”

He pinched the bridge of his nose. “Fine. That was part of it. But that’s beside the point. The point is, I couldn’t let her die just to avoid opening that Path. So I let it happen. We barely made it out alive, and this time, she saved me. But ever since I went undercover out there, I’ve been finding more and more things that unsettle me.”

“Like what?”

“Well, first of all, I’m the object of numerous prophecies written by Queen Bane of Ashkarith. Did you know that?”

She raised a brow. “Is that accusation I hear in your voice?”

He glared at her. “Mother, for the love of Albrith! Did you or not? I’m having an existential crisis here. I don’t need to add to it.”

She patted his arm with a sweet smile. “I didn’t know anything about it, no. Your father suspected your potential back when you returned from the woods that night at six. But he never confirmed those suspicions.”

“He confirmed them,” Leo muttered.

“The night you killed him?”

“You knew about that too? Why am I not surprised?”

“I know more about you and your life than you realize. So, you opened the Path?”

“And now it doesn’t work. I’m supposed to figure out why using the diary and books given to me by the Disciples of Rith and the king’s scholars. But I can’t find anything. All I’ve done is uncover the ways my power can be used and all the ways it can go wrong.”

“Go wrong?”

“Plainly put, I need a tether of some sort. I need to be grounded the same way the strongest of those with Controdene abilities do. Even though mine isn’t a mental power, it could still consume me if I’m not careful, and my tether pulls me back from the edge of insanity.”

“That tether is Deira.”

He swallowed and scuffed a foot through the gravel of the path before lifting his head to watch the rising sun. “I think so. I can’t be sure, but she was able to bring me back from the edge of death back in Dubarin. My powers were consuming me and my mind, and she followed me into the dreamscape I was in.”

“Does she know what her part in this is?”

He shook his head and shoved his hands into his pockets. He still hadn’t brought it up with her. Didn’t know how to, if he was honest. How would he tell her that she was in the prophecies right alongside him? That she would be the difference between his salvation or damnation of himself and all of Alcardia.

~~~

Hope you all enjoyed! What have you all been working on? Did anyone finish out their NaNoWriMo projects? I did, though I didn’t manage to finish all of the things I was working on when I started. However, the important thing is that I met my goal of writing at least 50,000 words in November!

As always, feel free to share bits of whatever you’ve been working on or to offer feedback to others here. Just remember to keep everything polite and friendly.

Sunday Sub-Genres: Dying Earth Fantasy

December 8, 2019 Ariel Paiement

Introduction

Alright, everyone! We’re back this week with another sub-genre to examine. This time, we’ll be looking at dying earth fantasy. This one’s fun if you like apocalyptic fiction with a dash of fantasy or science-fiction. Obviously, the focus here is on fantasy, but science-fiction also has a firm hold on this sub-genre, so that’s a nice crossover if you like both genres.

Defining Dying Earth Fantasy

Dying earth fantasy mainly has to do with the idea of a far-future, apocalyptic world where everything, including the natural laws governing the universe, fails or is failing. It all falls apart in these kinds of novels, and it comes as no surprise to find our heros and heroines struggling to survive in these tales. One important note here, though. Dying earth fantasy is not the same as apocalyptic fiction in that, rather than having some catastrophic disaster occur to cause the dystopian, apocalyptic world, dying earth fantasy has the earth’s depletion as the center driver for everything going wrong in the world. It is the result of long periods of disuse and abuse of a planet, not some unforseen catastrophe like a deadly virus or alien invasions.

Writing Dying Earth Fantasy

Whether you’re writing dying earth fantasy or science fiction, there are some common elements and themes you should consider and include when writing this sub-genre. It isn’t a feel-good type of genre at all, so given that, you have to provide the readers with another reason, some other value to gain, from reading your work. These elements are commonly used to do that and to make dying earth fantasy/sci-fi what it is.

Characterization

With dying-earth fantasy, unlike other sub-genres, characterization doesn’t run extremely deep. The story’s focus is on the dying planet and the struggles faced because of it, not on any one or two characters. The timeline for these books can also end up being quite expansive, so characters can easily come and go, leaving readers with only a bare impression of them.

This isn’t to say you shouldn’t spend time developing characters at all. Obviously, characterization and development is still important, but it won’t be your main focus, so if it’s a little more general than it would be with other sub-genres, that’s alright.

Plot and Timeline

Remember what I said about long stretches of time in the previous point? Well, it holds true with your plot and timeline both. Most dying earth fantasies will have broad plots that cover large amounts of time. We’re watching as a planet dies, so we don’t expect to find that the time is small. This is part of what separates this sub-genre from apocalyptic fantasy. A catastrophe can cause these same difficulties and more for characters in a much shorter span of time. It takes a lot longer for a planet to die.

Lofty Ideas or Social Implications

Okay, so this sub-genre is huge on this area. Dying earth fantasy almost wouldn’t be dying earth fantasy if it didn’t contain grand ideas and social implications. We’re talking messages about Earth’s future and the way we’re headed or reflection on our past and what it has done to our future. Really, anything within those realms goes, but dying earth fantasy isn’t itself without a theme on one of these areas. So if you’re looking to write this, you better believe you’re going to need a social impact topic that you’re passionate about and can relate to the story of how the world dies. Maybe the book is reflecting on several of those topics, even. But the book will have to reflect on and remark upon the human state and human history in order to extrapolate out to the grand ideas of our future and why it has become as it has. You’ve got a lot of room to work here though because dying earth fantasy usually happens so far in the future that you aren’t restricted to what we have now or what we know now. Whatever your choices in this area, your goal will be to make the reader think about life and human history as well as where it may lead.

Science

I know, I know. We’re talking fantasy here, not sci-fi. But science often plays a role in even the fantasy stories, so we can’t really leave it out of the discussion. Usually, for this sub-genre, science isn’t really hard science. If you’re not a huge science nerd, this is good news. Pretty much, the tech and science that shows up in dying-earth fantasy is going to be forgotten technology or science that is a novelty or seems magical to those now discovering it. So for those of you who aren’t so fond of hard science, this genre is still accessible to you!

Conclusion

Hopefully this has helped you to understand more about how to write this sub-genre. If you’re the type that enjoys really provoking thought in your audience, particularly on social themes and issues, this sub-genre might be a good fit for you. Try your hand at it. You never know where you might end up! As always, if you have questions, feel free to comment below! The list of further reading is below, as usual.

Introduction

This week’s discussion of sub-genres is all about coming-of-age fantasy. This genre, both fantasy and otherwise, is fairly popular, particularly for young adults and teens. Why? Probably because the entire premise has to do with change and growing up or finding your place. But we’ll look at things a bit more closely in this post, so let’s get started!

Defining Coming-of-Age Fantasy

As noted in the introduction, coming-of-age fantasy places a large focus on how someone who is unique in some way or another goes from normal life to a new normal. These stories, as a result, generally start out with the protagonist losing something or someone. Some event acts as a catalyst to force them to move from the comfortable place they were at into the unknown where they will discover themselves and ground themselves in who they really are.

These can make some awesome stories for teens and young adults since that’s the age where many young people are doing exactly what the characters are doing: finding themselves and figuring out where they fit. But people of all ages can and do enjoy coming-of-age stories, and fantasy lovers are no exception.

Please note that, unlike many sub-genres we’ve discussed before, coming-of-age fantasy is often more a theme than it is a specific sub-genre. In virtually any tale, a character can be forced to move from comfort to a hard road towards self-discovery. As a result, the coming-of-age fantasy sub-genre can fit in with many other sub-genres, even if it isn’t the main focus per se. It fits particularly well with epic or high fantasy in many cases because the themes and storylines mesh very well.

Writing Coming-of-Age Fantasy

Now, on to the interesting part! How do we write coming-of-age fantasy? As I said earlier, this sub-genre really works well with almost any genre of fantasy and even with non-fantasy genres. It’s popular with younger audiences because it’s relatable, and because of it’s flexibility, you as a writer can utilize it as a theme with your main sub-genre of fantasy even if you don’t intend to write it as a main sub-genre.

So, let’s dive in to some of the aspects of coming-of-age fantasy.

Magic

Because of the nature of coming-of-age fantasy, the level of magic in your story may vary greatly. Magic is a great way to force the characters to move from innocence to experience in the novel or short story, though, so it is often a strong feature in these stories. Or, at least, the discovery of it and subsequent struggle to learn to use it and control it often ends up being a pivotal point in these stories. Because it’s so useful for getting the ball rolling, most fantasy tales that are going to be specifically coming-of-age stories will feature magic heavily. The protagonist, antagonist, and most of the supporting characters met along the protagonist’s journey will likely be special in some sort of magical way. How, however, is widely variable and entirely up to you.

Violence

Unlike some of the sub-genres we’ve been looking at in the last month or so, coming-of-age fantasy is actually low violence in most cases. If there is violence, it’s rarely disturbing in nature. This makes these books great for younger readers, assuming the content is free from explicit sexual content.

Graphic Content

Speaking of sexual content, this is one area where coming-of-age fantasy really can vary. When older characters are the focus of a coming-of-age novel, I’ve seen a lot of variation in this one. Some of them do include content that won’t be appropriate for younger readers, particularly if the focus is romantic in nature. However, if the character’s story arc is more focused on self-discovery and belonging in other ways, then the stories may still be safe for teens or kids. Because of the low violence level, this area is the main one where parents may worry. As a writer, then, you have to decide on your target audience. If you want something everyone can enjoy, then skip the sexually explicit (and preferably all sexual) content just to be safe. But if you’re aiming for an older audience and choose to include it, that’s your choice too. It’s fine not to be all things to all people. However, you have to decide who you want to appeal to. So this is one area where you’re going to have to make a decision since there isn’t necessarily a standard for the sub-genre one way or another.

Social Implications or Grand Ideas and Themes

This one varies quite a bit too. It honestly depends on the story. Some of our previous sub-genre discussions have been non-negotiable here due to the type of writing. On this one, it’s not such a hard and fast rule that social implications must be made or larger ideas and themes incorporated. It doesn’t mean they won’t be, but here you should go with what feels right for your story. If those kinds of themes and ideas fit in well, then include them. If they don’t, avoid forcing the issue. It isn’t necessary, and readers of the genre don’t necessarily expect it to go one way or the other.

Characterization

By nature, the genre tends to lend itself to higher characterization. The focus is, after all, mainly on the character’s journey of self-discovery and new experiences. This means that the attention is fixed firmly on our protagonist(s), and as such, readers will want to get to know them. Complexity might not always be extremely high in the plot, but the characters must feel real and inviting to the reader because otherwise, the reader won’t want to take the journey witht hem.

Conclusion

I hope this has been helpful to anyone considering writing coming-of-age fantasy or thinking about including it as a theme within another sub-genre. Do you have something to add to the comments made about coming-of-age fantasy? Or maybe you have more questions? Feel free to comment below with either! I’m always happy to hear from you guys as readers and writers!

Further Reading and Resources

J.K. Rowling’s Harry Potter series

**Robin Hobb’s Farseer Trilogy (Hobb is not an author I recommend for children, just based on what I know of her work. For older teens or young adults, they may be a good fit. She is a good writer for those looking to learn what good fantasy looks like.)

Patrick Rothfuss’s The Kingkiller Chronicles (Some of Rothfuss’s work may be suitable for teens, but parental review is suggested.)

**Tad Williams’s Memory, Sorrow, and Thorn (Not sure on the appropriateness of this series for children as I haven’t read anything by Williams.)

Flash Fiction Fridays – Kidnapped

November 22, 2019 Ariel Paiement

This week, I’ve got a flash fiction about Rhubhian from Trader Prince of Aleshtain. Enjoy!

~~~

RHUBHIAN stared out across the village, almost unable to comprehend what she was seeing. Smoke and fire curled up from the hide and straw huts. She sank to her knees on the promontory above her village, and the tears streamed down her cheeks. She’d heard the stories from refugees about the slavers who were hitting outer villages, but she’d never expected it would come this close to Faeridhia. This close to her cousin’s domain. Why had this happened?

She spun on her heel and hurried down the steep, rocky path to the village. Her mother and baby brother were down there, and her father had probably been involved in the fighting before the village was ransacked. She had to find them. Her foot slipped on the rocky ground, and she struggled for balance. Regaining it, she continued her headlong rush down the path.

Something rustled ahead of her, and a man stepped out onto the path. He wasn’t wearing the attire of her people, and his skin was paler than anything she’d ever seen. She took a shaky step back up the path. His grey eyes fixed on her, and his lips parted in a leering grin. “Guess it’s my lucky day.”

She struggled to understand the words, but the look on his face told her what his words didn’t. Her Common wasn’t good enough to understand his accent. But then, it didn’t need to be because the lust and greed was etched all over his face. She backed up more and shook her head.

The man took a step forward with a laugh. “Where are you going, girl?”

She shook her head again and turned to run. Her foot caught on a root, and she stumbled. She fell to her knees and released a cry. The sharp rocks dug into her knees, and she sniffled, forcing back the tears. She shoved herself to her feet and continued running. The man cursed and hurried after her. She could hear his sharp breaths and his footsteps growing closer, and she gasped. Increasing her speed did nothing. A hand wrapped around her hair and yanked her backward. She screamed and thrashed back against the man now holding her. She reached out for the objects around her, prayed that there was something large enough to knock him out.

Nothing happened. His hot breath fanned over her ear, and he laughed, his hands holding her tight. “Don’t bother. Your mind tricks won’t work against me because I can negate them.”

She choked on a scream as he wrapped his fingers around her throat and dragged her back toward the path. With his grip around her throat, she couldn’t even struggle now. She tried to scream, but he slapped a hand over her mouth. Something bitter coated her tongue. Rhubhian attempted to spit it out, but the man pressed his giant palm over her nose and mouth, leaving her no choice but to swallow.

She squeezed her eyes shut and thrashed in his grip. But it did nothing. And as the bitter tablet he’d shoved into her mouth dissolved and trickled down her throat, she found her muscles slackening. Her heart rate spiked, and a moment later, she felt the line connecting her to her ashtra dim. She couldn’t reach it. She couldn’t use it. Tears dripped down her cheeks. As the man dragged her down the path toward her burning village, she couldn’t even lift a finger to save herself. Her mind drifted as the drugs seeped through her entire body. Then darkness settled over her like a heavy blanket, and she left the world of consciousness.

~~~

I hope everyone enjoyed this week’s flash fiction! If you did, you can look forward to reading more about Rhubhian in Trader Prince of Aleshtain. Once I have more content written, I’ll start posting that on Wattpad and Inkitt for readers.

Work-In-Progress Wednesdays #27

November 20, 2019 Ariel Paiement

This week’s WIP Wednesday is from Trader Prince of Aleshtain, the second book in the Legends of Alcardia series. This is a scene from the most recent chapter I finished. Let’s take a look!

~~~

WHEN he strode into his room, the first thing he laid eyes on was Rhubhian’s drawings. They were scattered around the room, and the ones she’d done reflected a dark, haunted mood. Pained expressions, empty gazes, and screaming faces filled the pages. He swallowed and stepped past them, his gaze flitting around the room. Where was she? Her mind wasn’t in a good place judging by these drawings, and he didn’t want her trying to hurt herself.

The sharp weapons in his closet came to mind, and he hurried toward the other room and the adjoining bathroom. He was about to go into the closet when he caught a flash of bright red clothing in the bathroom. Stepping back, he stared at Rhubhian. She was huddled in a heap on the bathroom floor, her tiny body curving in on itself. Tear stains tracked her cheeks, but she was breathing slow and steady. At some point, she must have fallen asleep.

How long had he been gone? Now that he thought about it, he’d left her here alone for almost an entire day, if he included the night he’d spent at Ifan’s plaza. He hadn’t even considered how she might feel if he left. In fact, he hadn’t thought she’d care that much. But then, he had taken off after yelling at her for being so stupid. She must have been going out of her mind with worry, boredom, and guilt.

He walked into the bathroom and crouched down beside her, brushing her damp hair off her neck with a sigh. She stirred, and her long lashes fluttered against her cheeks before she opened her eyes and met his gaze. At first, confusion clouded her eyes, and then recognition dawned, and she bolted into a seated position.

Eras pulled back. She probably wanted her space. Maybe she was even angry at him for leaving her for so long. He’d be angry if he was in her position. But strangely enough, no trace of anger appeared. Instead, she flung her arms around his neck and clung to him, sobbing like a child.

This was new. Not that he’d complain. He liked having her close, and he liked her display of her humanity even more. While he’d prefer she weren’t upset or in pain, he was glad to see her opening up. Hopefully after the trauma faded from her memory a bit, she wouldn’t revert back to her previously closed-off self. He wrapped his arms around her and cradled her against him.

Her fingers fisted in his shirt, and he rubbed her back. Murmuring soothing nothings in her ear, he continued to hold her close and comfort her. She tried to say something past the tears, but the words came out garbled. He leaned back and brushed her tears away with a sigh. “I’m so sorry for leaving you alone for so long.”

She tightened her hold on his shirt. “You are angry at me…”

“No, No, I’m not angry anymore.” He took her face in his hands and ignored the tears dripping down his palms. “Rhu, look at me.”

To her credit, she obeyed more promptly than usual, but no doubt that was born out of fear he might leave and guilt over not staying put the day before. She didn’t say anything further, and he wished he knew how to convince her he was no longer angry. Frustrated, certainly. But not angry. In fact, now he mostly felt relief over her safety and guilty for leaving her alone. “I never should have left you alone. I never gave you the chance to apologize if you needed to or to tell you that I was only angry because I was so scared for your safety.”

She ducked her head as much as he would allow. “I’m sorry. I wanted to tell you yesterday, but you left so quickly, and I didn’t know what to do.”

He pulled her back into his arms with a sigh. “Rhubhian, everything is forgiven. In your position, I would’ve done the same thing, and you were never told you should stay put in the room. It’s my fault. I should’ve made sure you knew what I was expecting. Next time, I’ll make sure I do. But if you’re ever unsure, you put your safety first, you hear?”

She nodded and rested her forehead against his shoulder. “Why did you leave?”

“I needed time to cool off. But I didn’t think about how it would affect you. I should have, and again, I’m sorry. I’m really, really sorry.”

For a while, she didn’t say anything. Maybe she wasn’t willing to forgive him. If it made her feel better, though, he’d bear that burden. He didn’t deserve forgiveness after the way he’d gone off on her before leaving her to stew in her own self-reproach with no way to fix anything. So, he just sat there and stroked her hair while holding her close until the slight trembling of her body stopped.

Finally, she pulled away and looked up at him. “I forgive you.”

He blinked. “You do?”

“You asked me to, right?”

He nodded.

“Then I forgive you.”

He sat there for a few moments in silence. Then he reached out and stroked her hair away from her face with a sigh. “You think I deserve it? Even though I was selfish?”

She shrugged. “You saved me. And…” She bit her lip. “And you were right to be angry.”

He stayed quiet.

“I’m sorry too.”

She understood her mistake, then? But maybe she didn’t. Who could say? She could be apologizing just to smooth things over. “Sorry for what?”

She cast him a look that bordered on rebellious. Eras crossed his arms and narrowed his eyes at her. The irritation dimmed, and guilt replaced it. “I’m sorry that I went after you. Even though you didn’t tell me to stay put, I still knew you wouldn’t like it. But I did it anyway.”

“Why?”

“I was… I was lonely, and I needed to get out of this room.” She ducked her head.

He reached out and tipped it back up. “You should have said so.”

Her gaze met his, and she swallowed. The sheen of tears glossed over her eyes. “Are you angry?”

He shook his head with a sigh. “No. No, I’m not angry.”

She didn’t say anything, and for once, he gave in to the temptation to peek into her mind. He found only pain, fear, and a tiny bit of hope. Hope that he might not be lying. He shook his head and reached out, gathering her into his arms. She tensed before relaxing. The time they’d been spending together every day and his kindness to her were paying off. At least she didn’t fear him. Only what might happen to her if he didn’t choose to stick around to protect her. He wove his fingers through her hair and pressed her head to his chest. “I’m not going to leave you, sweetheart.”

She shivered against him and sighed. “No matter what?”

“No matter what. After all, I did get you into this mess.”

~~~

Well, that’s it for this week from me. What are you guys working on? Feel free to share in the comments below! Is anyone doing NaNoWriMo this November, by the way? I am, though I’m aiming for 50,000 words total between the various projects I have going on, so I’m not doing it the traditional way exactly. So, what about you guys?

Saturday Setup – Magic: Systems

November 16, 2019 Ariel Paiement

Introduction

Last Saturday Setup, we talked about establishing rules for magic and how important that was. This week, we’re going to discuss different systems for magic. This is equally important, though it is a much different discussion than the previous post on magic was. This time, we’re looking at the actual system the rules will function in, which will help you to further categorize your magic use in any given world as well as what rules to associate with it. So, let’s dive right in!

System One: Rational

Now, for this, different people have different definitions, but the general consensus is that a rational system of magic is one where there is an underlying rationale and framework for the magic. Sometimes these systems are also referred to as hard magic systems. The rules are more than just formalities necessary to make it work. In a system like this, they are the lifeblood and the indicator of a much larger structure at work.

Most of the time, a rational system is set up so that’s it’s easy to extrapolate from there. You’ve got your systems where things can occur seemingly at random or where things may not always go according to plan. Those aren’t rational systems. A rational system is something that hints at structures that might go back to something like physics (Avatar: The Last Airbender) or some other specific set of rules that won’t be bent (almost any superhero fantasy). Brandon Sanderson uses a rational magic system in Mistborn. The abilities are utilized by ingesting various metals, which then lead to different magical abilities or superpowers. While the individual themselves must have an inherent ability to use that metal in order to get results, the system is logical and rational because each metal can only do the things assigned to it, and no individual who isn’t Mistborn or specifically attuned to that metal will be able to use it to achieve those assigned things. There’s no mystery or question in it, no vagueness that leaves the reader wondering how this works. It is what it is, and it’s made very clear up front what it is.

Let’s break down an example from my work, Pathway of the Moon. Pathway of the Moon has a mix of hard and soft magic systems (We’ll look at the soft side in a moment). On the hard side of things, there is the system that allows for a few things to happen. First, an individual will either be Inherent (possess an ability) or UnInherent (no ability). From there, a clear set of rules governs the power distribution. With the exception of a few special cases, people control one part of one sphere or element. They can either have a specific ability in the mental or physical areas, or they can control some small part of an element (water, fire, earth, and air). No one gets more than one ability, though some may be more practiced in their area and therefore stronger than another or may contain stronger ability in the first place.

Take Amadeira, for instance. She’s one of two female leads in the epic, and her ability has to do with water. (Elemental Inherent). However, she can’t control everything related to water. Instead, she is able to manipulate existing water sources. Not create them. Just manipulate what exists. Someone else might be able to create water, of course, but then they would not be able to shape it to their will. Under this same idea, someone might be able to create ice from existing water or manipulate ice as it already exists. Still another might have the ability to create ice from thin air. This is a rational system though. There are rules, and with one or two exceptions (the special ones who can use dark or light for their ability), everyone follows them. Even the exceptions follow a set of rules and have an explanation for their existence.

Note that there can still be some mystery to a rational system in that not all rules may be explained. However, the key is that there will be subtle clues and hints toward those rules not revealed so that when something we didn’t realize could occur happens, we aren’t questioning how it’s possible. It just makes sense to us. A true rational, hard magic system will lay out all the rules for the reader because it’s necessary. So there is a slight difference in the terms rational and hard even though people often use them interchangeably.

System Two: Irrational

So with this system, it shouldn’t be assumed that there’s no logic or system at all. There usually is something, but this is more the Lord of the Rings style magic where nothing is exactly clear or predictable. We may wonder how Gandalf can appear at all the right times, but we accept that he can, not because we have reasons within the text but simply because he is Gandalf and that’s what Gandalf does. It’s mysterious and definitely goes unexplained, but it’s still accepted because, hey, that’s just the way it works around Tolkien’s world.

Systems like these are usually less focused on the rules. An individual may memorize an incantation to turn someone into a toad, but in a soft and irrational magic system, they can’t turn around and extrapolate out for a way to turn that person back from toad to human.

Worth noting is the fact that systems like this may often include plants or animals that contain some inherent magic of their own. People who use magic aren’t included in this as you can’t create a potion out of them and get something magical. But, just like with the spells, the system relies on memorization of the different potions and incantations because there’s no logic to it that can be discerned by reader or character. Trial and error is the key to the game.

These systems may also include old magic and artifacts. While both of these could show up in a rational system if the rules are clear and unwavering, they most often seem to show up in systems that are irrational or that utilize soft magic simply because these allow some level of uncertainty and mystery to the magic’s workings.

Let’s go back to Pathway of the Moon to talk about the aspects of the system that are soft irrational magics. While, arguably, Pathway of the Moon uses rules even for this second system of magic, it isn’t like the first one I explained. This one is much more vague and unclear. This system is for the UnInherents (those who can’t naturally use magic), and it is much more of a memorization, spells-based system. Certain types of plants and spells can harness the energy of the planet or, in the case of darker forms of magic, even the life force of people to generate various magical effects. While the system is supposedly only for UnInherents, Inherents may use it too if they go dark and are looking for the power. But the system doesn’t have rules that allocate who can achieve what amount of power or even if one spell can lead to another. Included in this are various artifacts both in the Aurelai Universe (the location where Pathway of the Moon and my published work, Bane of Ashkarith, take place) and in other universes. Most of my worlds contain this kind of duality in the system, which leads to the next point.

System Three: Dual or Hybrid Systems

Many fantasy novels these days are using a hybrid or dual system that blends or uses both of the magic systems described above. Pathway of the Moon falls under this. My book’s universe uses more of a dual system as there are, quite literally, two different magic systems at work: one rational and based more on magic with genetics and the other irrational with no clear system or basis in any set of rules that would allow extrapolation. However, this is a less common thing to see. Ordinarily, you will see systems that are a mixture of qualities from the previous two systems. This is why you can end up with a soft rational system or a hard irrational system. While the soft rational or hard rational systems may make sense to us, I’ll make a few quick notes about a hard irrational system. With a hard irrational system, you’re going to take the set of rules that are always explained and combine it with things that are impossible.

As stupid as the example is, think about My Little Pony (if you have younger sisters or daughters who liked this show, I’m sorry. I was subjected to watching it once or twice with my baby sister, and that was bad enough. Those of you who end up watching it over and over… That’s like your own personal hell, in my opinion…). In the movies and shows, the rules and limitations are always explained. But the reasons for it make absolutely no sense in that there’s no way they could possibly occur. Ever. They’re either impossible or just straight up unexplained. Therefore, it makes a great example for what I was saying about a system that falls between being hard rational and soft irrational. It becomes a hybrid best described as hard irrational, as weird as it may seem.

Conclusion

Hopefully, all of this makes sense and helps everyone creating a magic system to create one that fits their story needs and personal preferences. There’s a ton of leeway with the hybrid systems because it combines elements from the rational and irrational systems. There’s also the option to create a world with dual systems, as I did with Alcardia from Bane of Ashkarith and Pathway of the Moon. (Interestingly enough, when I created dual systems, you see more of the soft irrational system come out in areas of Bane of Ashkarith than you do in Pathway of the Moon, which focuses far more heavily on the rules and extrapolating from them.) Really, you aren’t locked in, though you do want to create what best allows you to implement and tell your story.

Have other tips or details on these systems? Have a question about implementing them or further inquiries about them? Feel free to leave it in the comments below! I’d be happy to talk about it a bit more in depth!

Sunday Sub-Genres: Arthurian Fantasy

November 10, 2019 Ariel Paiement

Introduction

This week’s discussion turns from the darker sub-genres of fantasy to one that hails back to legends. Arthurian fantasy is a sub-genre of fantasy that is quite common. People love a good spin on the story of King Arthur, and given the fact that the original legend is bigger than life with many fantastical elements to it (I mean, Merlin exists, right?), it’s hardly surprising that Arthurian fantasies can be found in almost any bookstore if one looks. So let’s dive into this interesting sub-genre to get a good grasp on writing it and what we’re really looking at if we’re reading it.

Defining Arthurian Fantasy

First of all, we’ll start with the definition. This time around, it’s pretty easy. Arthurian fantasy is, simply put, any fantasy that involves some element of King Arthur’s legend and a lot of fantasy. The main appeal here, naturally, is the creativity in the ways Arthur’s legend gets incorporated into the fantasy world. The ways this happens are as varied as the stories themselves. So, there you have it. The definition of Arthurian fantasy.

Writing Arthurian Fantasy

Of course, this is the area that all you writers are actually interested in. We know what Arthurian fantasy is, but how on earth does one go about writing it? Given the myriad ways to incorporate the King Arthur legend into a story, what is really concrete about the genre that authors and writers can use to help themselves really write a true Arthurian fantasy.

Let’s take a look at the common elements and discuss what ingredients you need to write this sub-genre. That should help to clarify the issue, even if the plots and characters may vary.

Plot Complexity

Let’s be honest. While character-driven fiction is increasingly becoming the norm in writing, we all know that character-driven fiction is nothing worth reading if there’s no plot. Granted, you can prop up some really bad plot lines with character-driven fiction, but if the plot is really bad, good characters won’t help at all. In Arthurian fantasy, the plot is especially important. Most of these books, true to the legend itself, have a lot of complexity in their plot. Backstabbing? You got it. Vying for the throne? Check. Evil cousins or half-siblings? Yup. You get the idea. If drama and intrigue can be fit in, they are. All of the betrayals, double-crossing liars, and just straight up enemies lends a great deal of complexity to the plots of Arthurian fantasies. Also worth noting is that most Arthurian fantasies contain a lot of complex layers through use of prophecies and the appearance of quests characters must complete. Politics, betrayal, and intrigue aren’t the only areas where things are complex. So, if you want to write Arthurian fantasy, you’re going to have to write complex plot lines of some sort. It’s just expected.

Magic

This is the one most people wonder about when it comes to fantasy. Magic is one of those borderline situations for Arthurian fantasy. Some of them are really high in magic use while others just aren’t. It all depends on the plot and the focus of the story. So this one leaves you with a lot of wiggle room. You can pretty much write it how you want it.

Themes

So, this is one that you don’t necessarily see in every sub-genre of fantasy, but in Arthurian fantasy, you may see it more often. For Arthurian fantasy, the themes usually have to do with power, family structure, and moral codes or honor. While these things don’t seem like huge themes or major areas of social implication, they can be used to expand into a commentary on social implications or grander ideas throughout the story. It all depends on the writer and how they choose to do things. But most of them do, at least, focus on moral codes and honorable conduct since that was a big focus in the legend of King Arthur.

Conclusion

Arthurian fantasy is a really nice sub-genre to work with because most people, even if they don’t usually enjoy fantasy, will find something in the sub-genre that they do enjoy just because most people enjoy the legend of Arthur. It doesn’t mean your story will be all things to all people, but it does mean that your chosen sub-genre has a higher chance of appealing to readers who might not otherwise read fantasy. That’s a very nice perk since fantasy, though it is a huge genre, is not everyone’s cup of tea, particularly if they’re happier with scientific explanations and technology than they are with magic and mystical reasoning. Nothing wrong with that, but it does mean that hardcore fantasy may not appeal to as many as Arthurian fantasy does.