NOTE:In the post below, dated originally in September 2015, a Penworthy member writers about what he/she looks for when reading a fantasy tale. Although this was written last year, it has languished in the “drafts” folder so long that we don’t recall which of us wrote it. 🙂 Therefore, Elizabeth has edited it lightly and added paragraphing, and we hope you enjoy what you read.
A group I’m in has issued a prompt for readers to tell what they’re looking for in fantasy stories. The following three criteria are the main ones by which I judge all the stories I read, regardless of genre. (Readers be advised, this is a long post.)
3) Setting: there are two aspects to this. I care about not only how the setting is built, but also how it feels.
The time and place — the universe, if you will — in which the story is set is not required to obey the real-world laws of science, but it must remain consistent with itself. The rules by which the universe operates must be clearly laid out and then obeyed. Rule-bending and seeming contradictions must be rationally explained.
The world as a place should also give me a feeling that it’s many times bigger than whatever portions we see in the story, just as the real world is so much bigger than the portion any one person can see, visit, or otherwise experience in a single journey or lifetime. Even if the story is set in a place that’s completely “unrealistic”, I want it to feel real enough that I could plan a vacation there (or a detailed escape plan, as the case may be).
2) Storytelling: However the story is told — first, third, or even second-person, past or present tense, fantasy or sci-fi or mystery or any other genre — it must flow smoothly. As with above, there are two sides to this aspect: the mechanical construction and the semi-nebulous “story-feel”.
In regard to mechanics, choppiness and unusual constructions only work if properly and consciously manipulated. Prose is as much an art as poetry, and should be crafted as carefully. Stories should be written in a way that strikes the ear pleasantly when spoken aloud, since a reader hears the story recited in his own voice even if he does not read it aloud. The sound and cadence of a story don’t spring to the forefront of my attention on a casual read-through, but after I’ve finished reading, when I’m trying to analyze why I like or dislike a story, the flow of the words and the flow of the action almost always factor in. The sound of the words affects the image that forms in my mind. The right sound, the right flow, the right imagery: these things can cause the words on the page to fade away, so that what I see is not the words on the page, but the story itself playing out like a movie in my mind.
Concerning feel, the main thing is balance. Action and calm, lightness and seriousness: these should be woven together smoothly and in proper proportion to the type of story. Characters the readers are supposed to take an interest in should all be given enough page time to properly develop, and should all have equal (but distinct) roles in and influences on the outcomes of events. However neatly-constructed the setting, and however beautiful the prose (and however engaging the characters, see Reason 1 below), a story will not be worth a re-read unless it’s actually a good story.
I have no problem with tropes such as the coming-of-age journey, the dashing knight rescuing the fair maiden, or the Chosen One versus the Evil King; however, I’m also drawn to fresh and unusual concepts. But whatever the basic idea, the story must be told in an interesting way. Every scene has to matter, and every situation should be approached in a creative fashion. Even when using tropes, originality is a must, and subverting the expected is especially desirable.
1) Soul: The most important point on my informal mental checklist, the thing that draws me in to a story and keeps me reading, is the people. I want to see characters to whom I can relate. This is one of the most-repeated pieces of writing advice, but that doesn’t make it any less true: Strong characters are the heart and soul of a good story. I can’t love a protagonist unless I can get inside his head, understand what he wants and why, and sympathize with his struggles. Likewise, the villains I love to hate are those whom I understand. Show me what drives a person, and I’ll care about what happens to him.
All of the above is achieved only when an author gives his character a “soul”. A character must be put together like a real person, with real needs and desires, and flaws that are believably balanced with his good traits. The best character development is accomplished when a person is revealed to the reader slowly: At first, we see just enough to make us interested in the person, but details and histories are revealed slowly, tentatively, much as a real person gradually opens up to a new friend.
When characters are realistic, I cannot help but care about their futures.
When I care, I want to know what happens in the whole story.
Then, even if I never read the book again, even if I forget the title and the author and the characters’ names, a good story will stick with me in the form of people — friends, of a sort — whom I remember for years after.
In summary, here’s a short version of my list, in order.
1) Characters matter the most.
2) Style matters a lot too.
3) World-building also matters.
On a side note, this is the first time I’ve ever put these ideas into words. Funny, how long it can take to put one’s thoughts into shareable form. 🙂
The last month of the year — already? 2015 has flown on invisible wings.
This year, publishing plans have been adjusted or abandoned or pushed until 2016. In my (Keanan‘s) case, a fantasy novel I wanted to publish by December must wait until Spring 2016, at the earliest, while I scramble to finish a space opera novel. (Space opera is a subgenre of science fiction.)
Meantime, one of my new favorite authors has returned with an excellent start to The Darkwater Saga. The review below is re-posted from my blog, Adventures in Fiction:
Due to life-related factors, today’s entry will be equally brief. Others in the tour have delved into the writing itself and the spiritual and theological aspects of this fantasy-mystery tale, but I was struck by the inclusion of a PTSD-stricken protagonist (although such modern terminology was not used). In Carr’s previous series, the hero was an alcoholic young man who was abused since childhood — not typical fantasy fare.
In this series, the hero — Willet Dura — is a would-be priest who was sent to war, but his mind has shut out an important chunk of those experiences. Not only is part of his memory missing, he sleepwalks, and his job as one of the king’s reeves means he encounters death in many forms. In fact, he has a strange fascination with it, and he questions the dead about what they know now that they’re, well, dead.
I like that I can connect with Carr’s fictional folk. He knows that externals do not make up a man’s character, that not everything is what it seems, and that anything and anyone can change.
And they do.
Dura’s study of the dead takes a step toward the further-weird when he gains the ability to read the thoughts of the living.
I wrote yesterday that this is fantasy for grownups, but I think teens would like it, too.
And for readers who don’t want only mystery-solving or action scenes, there’s a quiet romance between Dura and Gael, a well-off young lady whose uncle is scheming up an advantageous marriage that doesn’t include Dura.
One thing that leans this story toward the grownup end of the readership is precisely that romance, and the other decisions and sacrifices that must be made. These characters aren’t teenagers in a coming-of-age tale, but are already adults who’ve been shaped by war and torment, hardship and abuse. Even allies can be at odds with one another, and pride and ignorance still cause folk to stumble, but — as a forty-something reader — it’s refreshing to encounter a fantasy yarn for readers older than sixteen. 😉
The first book in The Third Heaven series, The Rise of Fallen Stars by Donovan M. Neal is an original piece of fantasy fiction, incorporating the limited Biblical account with a rich creativity to imagine what might have happened when Lucifer defied God and took a third of the angels with him.
In the beginning (wink and a smile), Lucifer saves Michael’s life, and all of the angels are shown as being in harmony and brotherhood, but someone steps outside his assigned task, setting in motion a chain of tragic events. Pride and grief, anger and bitterness, fester and work wedges between brothers until a powerful angel goes on a rampage and kills another, and Lucifer dares plot rebellion against his Maker, unleashing war in Heaven.
Lucifer is present in such vivid fashion one can “see” and “hear” his beauty as the most beautiful angel. Heaven and Hell are described in rich detail, and the clever use of Biblical language and verses lends a depth and an authenticity to the tale.
There are a few instances where Neal makes interesting parallels between his novel and the Bible, such as when El (God) tells Lucifer, “What you have to do, do quickly,” echoing what Jesus tells Judas on the night the disciple betrays the Messiah to His death.
The Rise of Fallen Stars is action-packed, and is densely populated with angels of many ranks and myriad names. They are sometimes difficult to keep straight, but that didn’t keep me from enjoying the story.
What did take me out of the story were occasional awkward phrases (“gastric acids of the abomination of punishment”), and descriptions that incorporated or described flora or fauna not yet created (such as when one heavenly being grabs another as one would grab a cat by the scruff of the neck). And, in an Indiana Jones-like scene, Michael and Raphael traverse a chamber of perils to enter the Hall of Annals, and Michael is afraid. Such fear in that situation seemed out of character for an angel.
One thing I found interesting was Neal’s incorporation of Greek myth names into the setting (Adonis trees, Elysian Fields), and the use of Greek god and German folklore names for some characters (Charon, Mephisto, and more).
The cover evokes the story, and is well done.
The Rise of Fallen Stars is by no means a perfect book, but it is original and interesting. Recommended reading.
Donovan M. Neal, a blogger and the author of the Biblical fantasy series The Third Heaven, recently interviewed one of our authors, Keanan Brand, about his journey toward publication, the challenges in writing and in life, and how his faith informs his writing.
Below are a couple excerpts:
What advice would you give new novelists?
I lifted that line from the old Kung Fu television show, but it’s a solid Biblical and literary concept, too. Patience isn’t staying still, necessarily. It’s persevering, it’s trying again, until the goal is achieved.
What were the challenges (research, literary, psychological, and logistical) in bringing it to life?
The adage about having to write a million words before being able to call oneself a writer? I don’t know how many words I’ve written in my lifetime, but I produced at least the equivalent of three copies of Dragon’s Rook before finally settling on a completed version that worked…
I am pleased with the end result, and early readers have said that portions of it stay with them, coming to mind long after they closed the book, and some have said it is far different from what they expected of a swords-and-dragons yarn. One reader (who had never read fantasy) said she couldn’t put it down. I hope that you, too, enjoy this tale.
This is only a fraction of the interview — read it here in its entirety. (Read more about Keanan here and here.)
This epic fantasy tells the story of two kingdoms at war. The kings are brothers-in-law—Morfran’s late wife was Damanthus’ sister—but the conflict has nothing to do with family and everything to do with the Territories, a long strip of forest and hills ruled by neither kingdom. The people there govern themselves, but have no standing army.
When Morfran’s soldiers invade, a young shepherd name Gaerbith journeys to the Dissonay capital and begs help of Damanthus to keep the Skardians at bay.
Disson engages Skarda in war, and pushes the invaders out of the Territories and back into the western Plains of Skarda, near the Highlands, a hallowed and feared place where the dead are said to dwell.
When Dragon’s Rook begins, the war is at an impasse. Both sides have lost heavily, and ground has been neither gained nor given in a long while. Gaerbith is now a seasoned soldier and captain of the Fourth Lachmil. His skill in battle has gained him a reputation as possessing magic, but anything special he attributes to the fact that his mother was a Keeper, one of a group of immortals charged with keeping the Great Archive, a storied trove of learning and art that many think is just a myth.
His mother, Uártha, entrusted him with a secret that can only be unlocked when he takes the oath of a Keeper: the hiding place of Azrin, the lost sword of Kel High King, who in ages past slew a Dragon and freed the people.
Yet, even if Gaerbith takes the oath and learns the secret, he can do nothing without Kel High King’s nearest descendant, the only one to whom the sword will answer.
Dragon’s Rook is the name of a cave in Kel Tor near the village of Shea, where a blacksmith lives. He possesses a dagger decorated with the same metal from which Azrin was forged, and he remembers nothing before the day the previous blacksmith found him as a child and took him in as an apprentice.
Kieran Smith and Captain Gaerbith set out on unexpected journeys—the blacksmith to learn who he really is, the soldier to do his duty to a king—and along the way they face great foes, make new allies, gain love or lose it, and must decide whether or not to do the most frightening thing of all: trust their lives to the leading of the Voice.
Dragon’s Rook is currently available as an e-book (visit Keanan’s website or his blog to select which version you prefer), and will be coming soon in paperback.
Advance readers have commented favorably on the cadence and detail of the writing, and on the characters, especially the female protagonists. Some readers have selected the story’s quieter moments—not the battles, not the wonders, but the human interactions—as some of their favorites.
Although there are fantasy tropes and archetypes in Dragon’s Rook, there are few mythical creatures—aside from Dragons, there are bloodthirsty giant crows called Nar’ath, invented for this story, but expect no dwarves, elves, ogres, trolls, and the like. The author freely admits to the classical influences of Tolkien, Lewis, folklore, mythology, and the Bible, and built the world of Disson and Skarda on a mix of American and European geography, but weaves a story all his own.
We at Penworthy Press are proud to present this novel to the world. May it and its successors bring joy to their readers for many years to come.
‘You are early to-night, my friend.’ The man stammered in reply: —
‘The English Herr was in a hurry,’ to which the stranger replied: —
‘That is why, I suppose, you wished him to go on to Bukovina. You cannot deceive me, my friend; I know too much, and my horses are swift.’ As he spoke he smiled, the lamplight fell on a hard-looking mouth, with very red lips and sharp-looking teeth, as white as ivory. One of my companions whispered to another the line from Burger’s ‘Lenore’: —
‘Denn die Todten reiten schnell.’ —
(‘For the dead travel fast.’)
I picked up a copy of Bram Stoker’s classic novel after I finishedNaNoWriMo2009 (during which I worked more on what’s probably my darkest effort to date), and re-acquainted myself with one of the foundational vampire tales.Draculais far removed from the modern re-imaginings of the mythology — and, strange as this may seem, it was refreshing.
Anybody else tired of hearing about Bella and Edward and whoever else they hang with? Anybody else look with a canted eye at Buffy and Angel?
But the suckers —ahem— critters have populated frightening tales for centuries, and I don’t expect them to leave anytime soon.
On occasion, I participate in theCSFF Blog Tour, which has featured modern vampire novels:ShadebyJohn Olson, andHaunt of JackalsbyEric Wilson. (My blog posts about each can be found here:Shade1,2,3andJackals1,2,3.) Both books are in series, and are different takes on the mythology.Shadepresents more of a “psychic vampire” image without the traditional blood-letting, butJackalsis much more graphic and offers a twist on the ability of vampires to shape-shift.
I read those books, sampled some television series (those mentioned above, alsoForever KnightandMoonlight), listened to teenagers — and even adults — rave about theTwilightbooks and films, and experienced the strange sensation of being lost, of being pressed under the weight of all those versions and the various leaps (or chasms) in logic that made me unable to suspend disbelief for long, if at all.
[Though I enjoy books in which such additional information helps provide historical, social, political, or religious context, or discusses why something may have been important or overlooked by characters in the book, and so on, I sometimes wonder how much of the commentary is really just the commentator’s twisting of the text to fit an opinion, and how much is straight-forward observation of the material.]
Vampires and sex, an age-old coupling. The reasons are obvious: attacks that happen at night, usually on victims who are of the opposite gender to the vampires doing the attacking, and (inDraculathe novel) after the victims are in bed. And there’s the whole neck-biting schtick—which, as we all know, is more than a flirty little nibble.
There’s a lot of writing out there concerning vampirism and Victorian views of sexuality, and there’s a realm of scholarship that sees Dracula the character as freeing women sexually while Van Helsing, et al, try to suppress them. And, though the women seek help from their friends and send up prayers to God, they are drawn to the immortal count because their subconscious supposedly really, really wants him.
While such arguments might be made, there’s not much in the novel itself to support them. Yeah, vampires may work their mojo, but they’re presented as evil, and not all that sexy. Sensual, maybe, but not freeing. They’re rapists—even the females. After all, rape isn’t about sex or mutual expression or love. It’s about power and control.
Dracula controls Lucy. He controls Mina. Neither woman wants what he’s offering, and the men do what they can to stop him. Sure, they make some bonehead mistakes, like leaving Mina alone while they scout the count’s London digs, but I never get the impression they are trying to suppress either woman. In fact, Mina and Jonathan seem quite happy with their marriage. Until Dracula gets involved, of course.
—to be continued—
UPDATE: Last year, I read John Whalen’s excellent Western twist on vampires,Vampire Siege at Rio Muerto. You can read my review of his well-received novelhere.
Below is a piece of flash fiction written during tonight’s writers meeting. What a blast!
Each person contributed a portion of the premise: An eccentric millionaire lives in the basement of an apartment building, makes duct tape wallets for a hobby, always wears sunglasses (even indoors and at night), looks like an old grandmother, and makes rock-hard cookies.
We had about twenty minutes or so to create our masterpieces. The resulting stories were all over the place, from outright comedies to dark histories.
Mine falls more toward the comedic side. I forgot the duct tape wallets, but included an homage to Tim Hawkins. Enjoy!
What Big Teeth You Have
I settle the sunglasses on my face and shuffle up the basement steps, rock music growing louder as I near the door leading to the lobby. In my pockets are the cookies I made earlier–hard enough to break a tooth. Or a young punk’s skull.
I unlatch the door and step into the hallway, the muted lights still blinding even through the dark lenses, and I blink, orienting myself. Music–if it can be called that–booms along the corridor and echoes in the lobby.
This is a nice place. Grandaddy built it as a luxury hotel, Uncle turned it into penthouses, and I inherited it after a family– Well, let’s just call it a domestic dispute.
Or a blood feud, if the absolute truth must be told.
Teenagers, the spoiled progeny of wealthy parents, pass around bottles of brandy and single-malt, drape themselves over furniture created by Fifth Avenue clothing designers, or dance to the jungle beats reverberating from the sound system stacked discreetly behind a potted acacia tree in one corner.
I put a hand into the pocket of my housedress and pull out a handful of cookies. “Pardon me,” but my voice is drowned by a howling note that pierces my skull even as it calls to my ancient blood. My ears twitch under the white hair holding them close to my head, and a bristle of hair stands upright along my spine.
Now, now, you mustn’t hurt them, but the cookies are already airborne, hitting their marks with greater accuracy than one might expect from a shaky little old woman like me.
The kids flinch and curse and look around. Blood trickles down one pup’s head, filling the air with its sharp metallic tang.
Below is a re-blog of a post over on Adventures in Fiction, a blog by Keanan Brand. He discusses feedback he recently received for a story in progress, and decides what he wants more: applause or participation?
Wake from death and return to life.
Tade kuu mushi mo sukizuki.
There are even bugs who eat knotweed.
(To each his own.)
I’ve been developing a short fantasy set in Japan, in an era and a culture about which I know little. That means delving into reading about all manner of topics: honorifics, architecture, food, names, proverbs. I’m tempted to fill the story with Japanese terminology, but I don’t know what’s true to the period and what’s modern. And tossing in every word I learn would overwhelm the plot, and distract or annoy the reader, so I’m backing off, using the literary equivalent of a pinch of salt. A taste, not a stomachful.
An interesting dish — but who wants to eat it?
As with everything I write, I wonder, “Who’d want to read this? Am I writing only for myself? Am I okay with that?”
My reading at the most recent writers meeting was an attempt to answer those questions. I brought my first two thousand words of the Japanese fantasy and invited the other members to tear into it. The story needs to be solid, because it will be competing against other and far better writers, and I want to do my best so there are no regrets if I lose. No excuses.
The group followed along as I read but made few notes on their copies of the pages, which was unexpected. My own copy was littered with notes before the meeting ended. The responses were favorable, the speculations thick and fast, the suggestions and critiques constructive.
It was the most — what’s the word? —refreshingcritique session since, well, never.
In a prior group, my speculative stories were met with negativity, so I stopped sharing, stopped asking for feedback. The writer went into hibernation, and only the editor showed up for meetings.
At first, I believed the bad press: “Your stories are too difficult to understand” or “You’re not connecting with your audience.” While that may have been partly true, I came to realize that the audience — certain members of it — were never going to connect. Their understanding of and approach to reading left little room for deviations from their personal expectations: A story must look like this and not that.
With realization came renewed confidence. Nah, the audience didn’t change, but it stopped mattering. I could predict which of my stories they’d like — the more conventional ones — and which would make their eyes glaze and their mouths purse.
A new state and two writers groups later, I’ve landed with a mixed flock of hatchlings, most still in the nest, some just now recognizing their wings, some learning to fly. They’re fearless, though, sharing their earnest romances and troubled life stories, their awkward urban fantasies and sophisticated twisted fairy tales. They tell each other what they like and what they don’t understand, what’s not working and what piques their imagination.
The group works. I can’t explain it, but it works.
Maybe because the nasty black-hat villain Ego hasn’t arrived.
So I shared. They responded. It was good.
People have read my stories in publications, but it doesn’t necessarily occur to readers to contact authors and tell how the story affected them, how it stayed in their minds for days or roamed their dreams at night. How it made them cry, scream, laugh, think.
The response from my fellow writers the other night was like applause at a live play, accompanied by an honest but non-mean-spirited review.
I don’t need flattery or compliments or pats on the head.
As nice as it is, I don’t need applause.
What I crave? Capturing readers’ imaginations to such a degree that they fill in the details I didn’t describe. They journey alongside the characters, and talk to them, emote with them, live through them. The story matters so much to the readers they lose sleep to finish it. They argue with friends over why a character did this or said that. They can’t wait for the next story.
I could end my review right there and still have told the complete truth, but that wouldn’t tell you why or what, or how you can acquire your own copy of this useful, soon-to-be essential, little volume.
As a writer of fantasy and science fiction, I have defended my chosen genres to writers who deem them lower forms of literature, as pop-lit or pulp fiction. (Well, I ask, doesn’t the “pop” in pop-lit mean the form is popular? There must be a reason for that.) Fantasy has been and will always be a viable and powerful literary form, and Philip Martin is its apologist:
Fantasy is different from other types of fiction. It is a wonderful approach to storytelling, and “wonderful” here means literally full of wonder. Unfortunately, it is often used in a very small-minded sense to segregate off a small type of adventure fantasy into a sub-genre, a ghetto of bookstores and libraries, where you mostly find books with sword-wielding barbarians, bushy-eyebrowed wizards wearing star-studded gowns, Arthurian knights galloping across medieval countrysides, perhaps a castle in the background, perhaps a scaly dragon sailing overhead, perhaps a warty, axe-wielding ogre lurking in the shrubbery. But fantasy is far more than this. Fantasy combines wonder and whimsy with a richly non-rational, spiritual, philosophical look at matters such as good and evil…Someone said that the difficult thing about fiction is that it has to make sense. Fantasy makes sense, but it doesn’t show us reality. It shows us an inner truth, without any need to be any more real than an occasionally invisible hobbit with hairy toes. (Kindle locations 134-150) (emphasis mine)
Martin goes on to say, “At their core, fantasy stories are about what we believe about some matter of spiritual beliefs; they tackle core issues of good and evil, and how we should deal with it all” (Kindle locations 155-156).
Amen, brother! Preach it!
But this is not a religious book, nor is it a book of faith, but a discussion of how the spiritual is illustrated by and becomes accessible because of fantasy literature.
His three criteria for choosing the twelve books included in The Purpose of Fantasy:
They had to be really entertaining.
They had to be worth rereading.
They had to be worth discussing.
As a result, and without prior design, most of the books that made the cut are generally marketed to children.
C.S. Lewis wrote: “When I became a man, I put away childish things, including the fear of childishness and the desire to be very grown up.” Albert Einstein said, “If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales.” (This may apply to adults as well.) What is clear is that the foundations of a person’s moral character are strongly shaped by influences and lessons absorbed in childhood. And the two things that fantasy is most about – imagination and issues of right/ wrong – are naturally in rich abundance in children’s books and stories. (Kindle locations 234-240)
However, the questions raised and the themes throughout are decidedly the realm of adults.
Some writers of fantasy have been quite annoyed to see their stories labeled as “for children.” These authors included the great fabulist Hans Christian Andersen, who insisted “my tales were just as much for older people as for children, who only understood the outer trappings and did not comprehend and take in the whole work until they were mature.” (Kindle locations 274-276)
Again, the WHAT (the books Martin discusses in The Purpose of Fantasy):
Reading this book was a joy. It reacquainted me with beloved books I haven’t read since childhood, and nudged me to become friends with books that have long been on my “to read” list. (I first learned of Momo from a popular South Korean television series, My Lovely Sam Soon, aka My Name is Kim Sam-Soon, and have been wanting to read it ever since.)
For me, there is a danger in reading interesting books that are also well-written. When I find something I like, something that speaks to me or draws me in, I will blitz through it. I skip across the water rather than immersing in it. This time, however, I read slowly, as Martin recommends we do when perusing the stories he suggests. Savor them, ponder them, ask their questions of ourselves. Feel the wonder.
Fantasy’s gift is to allow us to see our own world in a state of surprise and grace. (Kindle locations 475-476)
Or, as Antoine de Saint-Exupéry writes in The Little Prince,
“It is only with the heart that one can see rightly; what is essential is invisible to the eye.”
But fantasy is more than the fantastic or the spiritual. In the chapter titled “Is Fantasy Subversive?”, Martin opens with this statement:
Some authors have seen fantasy as a good way to introduce a type of creative questioning, one that can shake up, or sneak by, a conventional perception. (Kindle locations 492-493)
And bolsters it with this:
Ursula Le Guin wrote that some adults are uneasy with fantasy’s inconvenient tendency to reveal truths – to tell stories in which emperors have no clothes. (Kindle locations 504-505)
I grew up in a strict church that, despite its words, seemed more concerned with appearances than with truth, and eschewed obvious sins while indulging in the more subtle, more insidious sin of pride. I was that kid who stirred up controversy by pointing out what was, to me, as plain as sunshine: There’s something wrong. There’s a disconnect between what they said they believed and how they behaved.
One of the teachings declared that most fiction was useless and even sinful, because it was lies. However, as a voracious reader, I consumed fantasy, science fiction, historical fiction, mysteries, fairy tales, folklore, and the like, as well as the many stories in the Bible, and gained much from them all. In a Native American folktale, I might learn about wise choices, which backed up a concept I might have learned in Sunday School or heard preached from the pulpit. In an African fable, the evil of lying might be reinforced.
Do stories question authority? How often, for instance, do stories and books for young readers contain dunder-headed or threatening adults? Does that mean that those stories are anti-adult? More accurately, they encourage young readers to think twice, and compare what they see in real life to those fictional tales. (Kindle locations 576-578)
It’s not important which church I grew up in, or what I observed. It’s important that I read widely and asked the questions. Eventually, I came to see value in much of what I was taught, because it was true and solid and a good guide for life. However, there is also much I abandoned as untrue and harmful.
For a time when I was in elementary school and junior high, there was a fear among the adults who knew me that I would mix up reality and fantasy, that the fiction that so enthused me would overtake my reason or my faith. When I wearied of defending myself and the books, I hid them behind more acceptable volumes, read them under the covers, sat in secluded corners.
The key to opening the mind is to be able to imagine something else, to ask “what if.” But “what if” does not answer questions. It simply creates a portal, an opening to build the structure of a story on top of those questions…Minds of young readers are not so malleable or gullible that they swallow everything they read or are told…Fantasy stories raise the question of Truth. But they don’t create it, and readers know that, because the worlds of fantasy are so clearly invented. Even more so than all the other branches of fiction, they are impossible worlds. (Kindle Locations 587-603) (emphasis mine)
It seems I cannot write a book review without applying it to my own life. That’s a good thing, perhaps, because it shows how well the book relates to me. Is it true? Interesting? Vital? Engaging? Well-written? The Purpose of Fantasy is all those and more. I recommend this book to writers and readers everywhere, especially those who see the wonder beyond the skin of the world.
Martin concludes the “Is Fantasy Subvervise?” chapter thus:
The solution, in a fantasy book, often comes from the smallest one who asks the biggest questions. (Kindle locations 608-609)
What’s your question?
* ~ * ~ * ~ *
In addition to being an excellent and engaging writer, Martin is also an editor, mentor, and publisher. He’s the founder of Great Lakes Literary and its two imprints, Crickhollow Books and Crispin Books. Martin is blogging about the books he explores in The Purpose of Fantasy ( Mary Poppins, for instance), and readers are invited to join the conversation. Readers can also visit the Crickhollow Books page on Facebook.
One last note: Check out that awesome cover art! It’s called “Looking for a Good Book” and is by Greg Newbold. You can check out more of his work on his site.
Written for a contest several years ago, this story was also partly the result of a dare among fellow writers: who could write the best romance? According the strangers and friends alike, my name sounds like that of a romance writer.
Unfortunately, I write more in the fantasy / adventure vein, and romance among characters is difficult for me to write well. This time, however, was one of those rare instances when the story wrote itself.
Enjoy! And if you don’t, well, an honest critique is always welcome. It’s how I learn and improve.
By Honor Bound
She does not kneel. She does not bow her head. She does not utter frightened allegiance. She does not beg. She could be one of the Northwomen, strong, proud.
Bearskin cloak broadening his shoulders, the chieftain strides forward.
She does not flinch.
He strikes her with the back of his hand.
Her head snaps sideways. She almost stumbles but she stands, chin up, eyes defiant. Touching the red trickle running from her mouth, she licks the blood from her fingertip.
Watching from a short distance, Soren feels a surge of lust.
He smiles at his father’s frustration. The chieftain towers over her, his fists clasping and unclasping as if clutching for stolen power; in silence, she robs Asgard of control.
Long waves of honey-brown hair hang down her back and over her shoulders, falling past her hips. Despite the bruise blackening her cheek and jaw, her skin glows golden. She is accustomed to the sun. Through the tight-fitting sleeves of her silken kirtle, her arms show the sculpting of one to whom physical labor is not unknown. She is not the usual prize.
At her feet lays the pierced, bloody body of her betrothed, a fine-clad stripling with more heart than skill. Soren feels little pity for him. Better to die in glory, sword in hand, than to die slowly in the shadow of a woman stronger than he.
The chieftain growls an order, and men bind her hands behind her. “Put her on a horse!”
“On whose horse, Asgard?” one warrior asks. “We lost no men this day.”
A wicked eyebrow cocked, the chieftain grins. “Choose.”
Fighting, immediate and brutal, breaks out around her. She will belong to the man with whom she rides, as his slave or his wife.
“Soren? Have you no desire for her?” Asgard asks. “A woman in need of breaking?”
Soren considers her calm face and uncowed posture. “Not broken. Won.”
Asgard grunts. “Then win her. And bring the blood.”
Soren dismounts his sturdy north-bred horse and strides through the fray. Fools! To fight but leave the prize unguarded.
He hoists her over his shoulder like a sack of grain, and takes her to the only building still standing in the ruined village—a hut clinging to the hillside like a goat clinging to a mountain.
The fighting fades. A hush follows. He knows the men watch.
Kicking shut the door, he stands her on her feet, cuts her bonds then crosses his arms, studying her in the dim light sifting through cracks in the hovel walls.
Hands at her sides, she again defies the expected, not rubbing her wrists where the rope chafed them, and breathes in quiet evenness beneath the fitted silk of the kirtle. Gray-green eyes, the color of the sea under a stormy sky, gaze at him with unnerving steadiness. A plain leather belt girds her hips, the tongue of it falling between her thighs, a suggestive circumstance that stirs him once more.
Won. Not forced.
“I am Soren.” He is irritated at the unsettled feeling in his stomach. “Asgard, my father, gives you to me.”
“My betrothed is dead”—her voice as detached from emotion as the sun from the earth— “I belong to no one, nor do I give myself to any man.”
“Pride will not save you.” Soren uncrosses his arms and steps forward. Her posture makes her appear taller than she is; the top of her head does not even meet his chin.
He fumbles to find his argument. “Those men will take what you will not give, and your pride will diminish with each taking until the woman you are now will not know the woman you will become.”
Her smile, small though it is, curves full lips into rosy sarcasm. “The barbarian speaks with gilded tongue. If more of your kind wielded such skill with words, your wives would come more willingly to bed.”
He speaks more mockery than truth. “We take them fierce, and breed strong sons.”
“Who yields the strength?” Sea eyes glitter with battle. “The forceful fathers, or the long-suffering mothers? The wind howls against the mountain, but gentle rain carves the stones.”
He reaches for her. She spits in his face.
Dragging a finger through the warm spittle running into his beard, he places it into his mouth with deliberate mockery.
Her lip curls.
“Highness,” he wipes his face with a battle-stained sleeve, “there is only one way out of this hut. Only one way my honor remains unchallenged. Only one way your pride remains untouched.”
Fear crosses her face for the first time since the body of her beloved was tossed at her feet. As if to calm her fluttering heart, she raises a hand to the low neck of her kirtle—and draws a knife.
He flings up his forearm, hears the blade drag across the leather vambrace then twists the knife from her grasp. Hand to her throat, he pushes her back against the center post of the hut.
Her nostrils flare, her eyes narrow. Her pulse is warm beneath his palm.
“Clever, highness, but now what will you use? Teeth? Claws? Kicks? Those have never prevented me before.”
The shadow of sorrow behind the contempt in her eyes, and the slenderness of her throat beneath his broad hand, checks his anger. He nods toward a stool in the center of the floor and releases her.
Back as straight as a ship’s mast, she sits, smoothing the kirtle over her knees, turning the tongue of the girdle so that it drapes at her side.
Tapping the knife against his leg, he leans against the crude stone chimney. “The coastal kings are known for their prim ways. Oh, they have their secret lovers, but they have their public queens. And great price is placed on the purity of those queens.”
He pauses, searching her face for understanding. There is only hatred.
“You are pure, else no marriage contract would have been sealed between your father and that of your beloved.”
“Beck is not—was not—my beloved.” Her hands clench on her lap. “He was more brother than lover. He was kind. Brave.” Grief does not overcome her. Lifting her chin, she looks up at him, devoid of tears. “No matter what you do to me, Beck will be avenged.”
The man who wins her will never truly be the conqueror. Yet desire flames in him. He must have her.
“My father requires proof your defenses are breached, highness. Either you give yourself willingly, and I present the blood to Asgard, or I take you by force, and still present the blood to Asgard.”
She seems not to hear, her eyes thoughtful where once they were angry. “How is it you speak so well? You could almost be a noble in my father’s court.”
“Osric and his court are dead.”
“I am aware of my loss.”
How can she sit there, so calm and controlled, while everyone she knew or loved lays dead in the ruined streets?
A wild horse, anger gallops through him. He reins it in, slowing and deepening each breath. Whether angry at her stillness or at what was stolen from her, he refuses to surmise. Such thoughts are not for warriors.
“My mother was, like you, the daughter of a coastal king. It is her speech you recognize.“
“Did your father love your mother?”
“He named her wife.” The tendons in his neck tighten. “You seek to turn the point, highness, but—“
“Why did he give you me?”
“Perhaps you remind him of her.”
“Then why not take me himself?”
“He has women enough.”
“Will you strike me as he did?”
Soren shoves the knife into his belt and yanks her up from the stool. “You are mine.” He bends until their faces are a breath apart. “If you shame me today, I will shame you every day hereafter.”
“Gone is the silver speech,” she murmurs. “Without it, bedding will be an empty thing. For us both.”
“If words are what you want, I’ve words aplenty.”
She tugs at his belt. His body responds, hot and urgent. He reaches for her other arm to draw her to him.
Steel taps his chin. She holds the knife to his throat.
Slowly, he releases her and steps backward.
“I care not for your honor or your shame.” She retreats, placing only a wall of air between them, for he stands before the door.
Fury wars with lust. He says through clenched teeth, “You will regret those words, highness, after my father’s men have had you. Many times.” He forces a smile. “Drop the blade. Take pleasure in the inevitable.”
“It is you who will regret.” Her knife does not waver. “If I do this thing, none of the coastal kings will ransom me.”
“No ransom will be asked.”
The knife tips in her slackening fingers.
“Even if Asgard sought treasure through ransom,” he draws his war-sword from its battered leather sheath, “what is your knife to this?”
He burns, wanting her to come willingly to him, but his persuasions are at an end.
“You are a harsh suitor, Soren Asgardson.” She turns the blade toward her breast.
A chill stabs him. No warrior contemplates self-murder, for the soul is then doomed to wander forever, a dark haunt without hope of peace.
He leaps forward, sword thudding to the floor as he reaches both hands for the knife. Its tip scrapes her skin before he wrests it from her. He flings it to the floor. It lands with a clatter, crosswise to the sword.
She stares at him in unspoken combat. Soren gives way first, unable to batter against the despair in the sea-colored eyes.
“This takes too much time.” His words are sharp. “My father’s men expect to hear your cries by now. Or see me return with you across my shoulder, tamed into submission. They already question my honor.”
“If I do what you ask, do you swear to be kind to me from this day onward?”
He stares at her. Kind?
“Will you protect me from all others, and treat me as you might one of your own women? With the dignity accorded their strength?”
He sees again the black bruise left by Asgard’s hand, feels emotion he cannot name.
“Will you call me by name?”
“You swear to all of it?”
Voice hoarse, he replies, “Yes, high—“
Her name on his lips both disturbs and pleases him. Some captives fight, some go limp. The latter he does not want, and the former are often too much trouble. But this one grants him a gift that is already his by right, and gives it so humbly he is undone.
His body clamors for satisfaction; his self craves her esteem. To have the admiration of a strong woman only adds to the honor of a man, for her strength girds his.
Kneeling, he grabs the knife and draws the blade across his upper arm, where his sleeve hides the wound, and lets blood drip onto a dirty blanket crumpled on the broken-down bed.
“This will be Asgard’s proof.” He keeps his gaze on the blanket.
Rowena kneels, taking the knife from him, the touch of her fingers sending lightning bolts along his skin. Slicing off a piece of her kirtle, she binds the cut and pulls down his sleeve to cover the bandage. Only then does he look at her.
Her eyes watching his, she slides the knife back into her bodice.
He can scarce draw breath.
Leaning forward, enveloping him in her honey-colored hair, she takes his face in her hands and kisses him.
The kiss soft, her lips softer, when she withdraws, he is lost.
After a long gaze-locked moment, she takes the bloodstained blanket. “Honor what you swore, Soren Asgardson”—she hands him the war-sword as if she is already a wife preparing her husband for battle—“and your bed will never be cold.”