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    2021-12-03 Writing Magazine Presents

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    FANTASTIC MN Be Cae ‘Specuil wfitction lof aie all’kinds with advice, ideas and.tips for writing fantasy;-SFeand-horror advice, i Get started in speculative fiction of all kinds with CONTENTS 4 10 28 12 Brush aside the cobwebs on the dark origins of horror fiction to explore what it can teach us about the genre today Science fiction of the past has much to teach the writer of the future Explore fantasy’s winding historical path and the road from here The urban fantasy trend and how you can find success in the fast-growing genre The terminology is recent, but steampunk has been building up traction in genre fiction for years Let your imagination loose to create convincing fantasy fiction 14 16 18 20 22 24 30 eas and tips for writing fantasy, SF and horror Want to try your hand at writing science fiction? Tread boldly! Spooky tales have long been a staple of the storyteller’s repertoire. Learn how to tug on your readers’ nerves Never underestimate the importance of worldbuilding when you're writing fantasy Advice and exercises to help you build a convincing SF world Monstrous secrets for creating a creature that to send shivers down readers’ spines To write good modern science fiction, horror and fantasy, you have to find the boundaries... and then stretch them Some of the best publishing options for genre fiction come from small presses INSPIRATION AT YOUR FINGERTIPS EVERY DAY eri Alex Davis brushes aside the cobwebs and shines his torch on the dark origins Cares ieennot eR Reca neutron ake es cog ce the course of the following articles, we're something in common: iconic characters, names that instantly covering a number of different aspects of what conjure up strong mental images. At the time, these would have gente fiction looks like today, and some of the been fresh and unexpected from readers, and have set the tone issues and boundaries that horror, science for many great ‘monster stories’ since. Unfortunately for writers fiction and fantasy face. We'll start with three in 2014, tis more dificult to create a monster or character that ntroductory articles ~ namely looking back at where genre is truly original and also that will go down in history. If there is ction began, What can we learn from the greats in the field a lesson to take out of these titles for writers today, I would say and what is essential reading for aspiring horror weiters to that it very much lies in theme. Part of the endurin, popular A solid understanding of the background of any field of writing of these books is that they explore themes that do no go out of will be a huge help for any emerging authors out there shion ~ namely science /genetic engineering, sexuality and the human psyche. These are themes that don't vanish quickly, and The gothic tra The very earliest roots of ho ion as such help to give these particular titles an enduring quality can be traced back to the very Great literature often says something about the time it is written early gothic literature of the eighteenth century, and those of |__in, giving a sort of social commentary alongside the main story you looking for the seminal ttle in this movement need look and this is something that horror can benefit from as well as no further than Horace Walpole’ One of any other g he earliest titles to inelude overtly supernatural elements, the portance of Walpole’s work is seen far more in the legacy ‘The golden years of horror hat it had. The book includes strong elements of romance and What we would most easily recognise now as horror fiction agedy, which would become the hallmark of much gothic first came to prevalence in the mid-1970s, and enjoyed a ction, plus the kind of bleak atmosphere that filtered most sustained run of popularity throughout the 1980s, This saw notably into the works of Edgar Allan Poe. These early gothic a flurry of incredible talent emerge with their first novels itles were what laid the groundwork for what we would Stephen King’s Carrie, James Herbert's The Rats and Br recognise as horror fiction today. Lumley's| II saw publication in 1974, with d A dark flower blooms Guy N Smith in a si The nineteenth century was the time when horror came into. 1970s and the 1980: ‘buts from Ramsey Campbell, Graham Masterton and ilar time-frame, Throughout the late raders were lapping up horror fiction to own as a genre. The emergence of iconic titles such as a point that supply could barely keep up with demand. But, Dracula, and The Strange Case of Dr ienstei land Mr as the amount of product increased, so the quality of both saw a growing popularity within the field, These all have content and the look of the book began to decrease, Readers who were once excited by the horror began to grow tired of the tropes and habits of horror fiction, and by the 1990s only a handful of authors could successfully hope to get horror published on the big stage. ‘Small but beautifully formed Throughout the 1990s and the 2000s, horror was practically anathema to the major publishers. But salvation came by in the shape of the small press scene, something that retains a eat popularity on both sides of the Atlantic. Some of the biggest and best names in horror still held appeal, although not necessarily in the volume required by the major presses, And so the small presses found themselves able to publish highly reputable names that had an already established fan base. Combinin; this with a new generation of horror writers emerging on the small press scene, horror found itself in ‘good hands through what might have been a nightmarish period in its history. And the British small press scene alone ‘offered early airings for incredible writers such as Adam Nevill and Joe Hill, who are now getting a significant push in the mainstream press. As author and leading horror editor Johnny Mains says: “The main development in horror has. m the small press, as always, the one constant you ‘can be sure that will never disappear. This is where cheap digital publishing has come to the fore and has really opened up the well of authors who have been waiting for the chance to be published. Not all are good, some are hideous, but there na few great authors in the last few years that have imbed out of the small press trappings. Rising from the dead. In the vein of its most classic mnsters, however, horror in the mainstream refused to stay dead, The present situation is beginning to look just alittle brighter, in that there are a nificant backing and marketing pushes from the publishers. Justin Cronin received a handful of horror authors receiving remarkable push with his debut title, which has been repeated for his second book, Horror books by Adam Nevill have been very well-received, and have already seen re-releases with new covers. Publishing itself seems to be taking a far more prudent tity with a fe the market, And if initial approach, focusing on quality rather than qua determination not to oversat responses to these select authors is anything to go by, there may well be room for growth yet. As Johnny Mains, author and series editor for Salts Best British Horror anthologies, puts it: ‘Horror in the mainstream is as good as dead, but there are faint signs of life What can we learn from the masters? Edgar Allan Poe's work has long been an inspiration of mine, and his use of lang mosphere uage to c in nigh-on stunning. While some of the description may be a little heavy for modern audiences, his use of repetition, metaphor and indeed the range of his vocabulary are well worth noting. Authors looking fe for modern horror would do for a guide to create atmosph well to note what Poe does, but perhaps streamline it for a HP Lovecraft was largely considered a ‘pulp’ author in his, time, but since then his work has reached a new audience and seen him grow into one of the most nfluential figures in the field. Lovecratt’s work, for me, was notable for two things ~ first of al the creation of the Cthulhu Mythos, a mythology and secret history that inhabited many of his short stories and is kept alive by many contemporary horror writers, This kind of framework can provide a lot of fuel for writing if done well. Lovecraft was also {an author who excelled in creating horror in an indirect fashion it might be through letters, newspaper articles, scientific studies or other mediums, but the use of these would help to infuse these fantastical stories with a sense of realism, In today’s world, we have additional options in the shape of the internet and social media Stephen King remains an undisputed king of modern horror, and his work is exemplified by very clever plotting and a masterful sense of pacing. Char consistently strong in King books —as Johnny Mains says: ‘One of the greatest i \cterisation is also orror novels to have ever been 1y by Stephen King, ok. We follow Dr Louis Creed truly to the bowels of hell and even though the situation gets darker and crazier and truly awful, our hearts and minds are captun ever happen, so why do we continue reacling? It’s the way he's has some ofthe best characterisation I've ever seen in ab wed by this tale. We know nothing like this can written Louis Creed. ‘Adam Nevill may not yet be a household name, but ifyou want TENE good sense of what makes great contemporary horror I can't Bp) recommend his work enough. What his books are able to do is bring very traditional horror elements ~ often with a rural clement, ora clear ghostly aspect ~ and bring these into the ‘modern day in a believable and realistic fashion. They are the best possible combination of what made horror great inthe first place and what makes horror great today. 8 ESSENTIAL READING FOR HORROR AUTHORS: (in rough chronological order) FICTION: *# Horace Walpole, The Ca Mary Shelley, Frankenstein + Edgar Allan Poe, The C + Bram Stoker, Dr HP * Stephen Kin; Otranto Lovecraft, The Complete Sh *# Clive Barker, The Bi + James Herbert, Haunted, Ot + Brian Lumley, Necrascope # Mark Z Danielewski + Mark Morris, * Contad Williams, shed, Deoay Inevitable + Justin Cronin, The + Adam Nevill, The R * Gary McMahon, Th NON-FICTION: + HP Lovecraft, Supernat « Stephen King, D. se Macabre and On ¥ Fantastic realms fiction (og eee TO 1/3 ontinuing our exploration of the roots of the varying threads of genre fiction, how this has informed modern writing and how it can help writers today - which we began with look at the origins of horror ~ for this, piece, we shift gears to science fiction. It’s a field with a long history and plenty of different approaches from which authors can learn, Not only this, science fiction isa field growing in popularity and range, and ‘8 potentially important market for writers in the present day. We truly began to sce the first SF works emerge in the late 1800s, You could also. argue the case for some eatlier titles such as Gulliver Travels and Jonathan Kepler's Somuium, but in terms of a consistent growth it was authors such as HG Wells and Jules Verne who began to explore ‘hat science might achieve inthe future, and what other races might exist beyond humanity. Another underestimated work of around this time is Edwin Abbott Abbot's Flatland, Many authors and critics often make the case for Mary Shelley’s Frankenstein as one ofthe very first SF works, but italso has afoot firmly in the horror camp. As science-fiction author Eric Brown, twice winner ofthe British Science Fiction Award, puts it: The ral progenitors of the genre, though, I think are Verne and Wells ~two very different writers. Vere was adventure and nuts-and-bolts technolog; which it could be claimed led on to hard SE; Wells more sociological Teis easy to see why such imaginative works swiflly gathered a following, There ‘were often strng elements of adventure and romance in these very early SE works, and a sense of escapism that often was not present in the more literary titles of the tims ‘many of which are now considered classics of fiction. Effectively, early SF was very much an alternative to the far more realistic fiction that existed around the time, and one that appealed greatly to many readers From the early part of the 1900s, science fiction bloomed as a genre and grew its audience and following substantially ‘This was in no small part due to the foundation of the ‘pulp magazines’. Titles such as Amazing Stories (first published 1926) and Astounding Stories launched in 1930) provided readers with a low-cost supply of science-fiction stories, and gave writers new and far-reaching outlets for their work. Magazines such as Weird Tales and Wonder Stories were also a key part of this movement. ‘The pullpera itself an interesting matter for discussion, as these kind of magazines, and the stories contained within them, are often looked back on as hackneyed. There is some truth in the argument the pulp era was not about great characterisation and believable science, but often allowed the author's imagination to ran unfettered in high-paced, action-driven stories. These are tales that have not necessarily dated well and compared to today’s more sophisticated and character-driven SF, the style isnot always looked back at fondly. With all that said, the pulp era played a key role in launching careers andl also driving a new and fresh gente forward, ae iors OmisCRWuicL RMI Mo NE TV aT Liry Alist ofthe names published in the pulp ‘magazines reads like a who's who of SF legends Ray Bradbury, Edgar Rice Burroughs, John W Campbell Jr Arthur C Clarke, Robert Silverberg, Theodore ‘Sturgeon, Jack Williamson and many more besides, These are authors that have gone on. tobe revered as the greats in the field, and authors of some of the most iconic works in the field, and we have the pulp era to thank for much of that “The pulp era was also an important time for the establishment of the fanbase that would eventually go on to be known as “fandom. The Letters sections within these magazines were an important way for _genre fans to communicate and establish ‘connections with each other, before there tas a significant scene of science fiction ‘events and conventions to serve this purpose Drawing this community together was an important step in the development of the genre, and another thing for which the pulp ‘magazines were largely responsible. Looking at the modern SE scene, itis apparent just how much thing changed since the pulp era, Its fascinating tose how much science fiction has moved from the margins of culture to a far more central position. The genre has made massive strides in both television and film, and even in literature science fiction is era yaa gaining an increasing level of visibility and respect As the pulp magazines began to either fold or change their outlook, it became apparent that science-fiction readers were now after something rather different than the action and adventure of old. Some pockets of this still remain — in particular in the sub-genre of space opera ~ but to meet the needs of its readers, and even some of the writers (who may have been feeling somewhat limited by the confines of ‘pulp fiction’), things had to change within the genre. It was also a time that was good for the public perception of science fiction, as it began to be taken, more seriously as a gente. What began to emerge ~and what has well and truly taken hold since —is science fiction that offers far better characterisation, stronger plotlines and on many occasions an increased sense of reality. The fantastical ddream-worlds of Edgar Rice Burroughs are long behind us, and have been replaced with grittier and more believable settings. Eric Brown sums up some of the difficulties of Golden Age SF on this front: ‘I always. ng or non-existent, Perhaps the only Golden Age SF writer I can read ~ and enjoy ~is [Clifford D] Simak. He has influenced my work, though no other writers from that era have’ found the characterisation either lac The future of the future Dystopian stories have been hugely successful, particularly in the young adult ‘market —novels such as The Host, Divergent and The Hunger Games are ample proof of this. In adult fiction, we have seen post- apocalyptic tales and worlds such as The ‘Walking Dend and The Road achieve large ‘mainstream success, although many would debate how much these dystopian takes are truly science fiction. As much as I don’t y a hail My ‘want to get caught in that question again (see my two-part article on the definitions of genre a few months ago), it seems that this isa key direction for SF at the moment. ‘The optimism and ‘sense of wonder’ that so often defined the pulp era seems to be behind us, and science fiction is offering, stern warning of what the future might hold for us. With all that said, there’s stil plenty of scope for SF with a more traditional eel, and space opera in particular remains a vibrant force, with authors such as Peter F Hamilton and Alastair Reynolds ‘major forces in the current market. Other current authors you may want to check ‘Stephen Baxter, Adam Roberts and Charles Stross. An important point to be madeis that science fiction has probably never been further from the scientific. While some authors retain that sense of scientific rigidity, these are now swamped by authors using. science-fiction tropes and archetypes to explore wider societal and sociological {soues. If you're a writer thinking that SF isnt for you because you aren’t scientifically-minded, is unlikely tobe as [problematic as it once may have been. The genre needs everything all fiction does ~ ‘great characters, an exciting plotline and strong writing ~ but not necessarily any technological background. Gente fiction isa constantly moving field, and knowing what might be coming next is always hard to assess. But as always, the important thing is to Took forward to the journey: Eric Brown, sums out where we might be headed =a breakaway from traditional SF: “Fractionalisation, with bits going off in all, directions, evolving out of all recognition, and getting to the point where each schism is unrecognisable in relation to the other Core SFisa dying breed.” 8 out ai Fantastic realms RECOMMENDED READING © Edin Abbott Abbot, Fltind(184) ‘HG Wells, The War ofthe Worlds (1898) * Isaac Asimov, Foundation 1951] andthe remainder of the Foundation sries © Cliford D Sima, Tine and Again(1951) * Jon Wyndham, The Day ofthe Tits (1961) ay Bracury, Fahrenheit 451 (1953) lus any of Bradbury’ shor stry collections + Aled Bester, The Stars, My Destination (1988 + rank ssl, Wasp 957) + Wie T, The Man Wi Fel oath 1988) + Poul Anerson To Zr 1970) * Arka and Baris Strugatsly, Roa enc asm) Arthur CClake,Rendenvcus with Rama (1972) and the remainder ofthe Rama series + Sanvel Delay, halon 1575) + Philip K Dick A Sear Darky(197) 4 TT, dan tad (1883) «Wiliam Gibson, Neworarce 1984) * M John Harrison, Light 2002 pls sequels ‘Nova Swing and Empty Space +Join Sel, Ola Man's War 2005) pus sequels Tre Last Colny Zoe Tale and The Huan Divison * Gooff Ryman, Air(2005) For those interested in reading a range of classic science fiction, the SF Gateway presents a huge range of thousands of titles from the biggest names in the genre, Visit www sfgateway.com for more. For a detailed look at the genre of science fiction over the years, | recommend the superb Encyclopedia of Science Fiction. Visit wwwst-eneyclopedia.com to find ‘out more. Th third edition i also a great resource for anyone interested inthe field his article is the last of three that will be looking at the roots of different aspects of gente fiction. So far we've explored horror and science-fiction, and now we move on to the very different ~ and indeed more commercially popular It’sa field with a fascinating history, and one that can be tracked back all the way to ancient myths through to far more contemporary examples. It is also a genre with some very interesting distinctions within it, which we'll be exploring, throughout this piece area of fantasy. Myths to modern In looking back, it is interesting to note that the root of much fantasy fiction lies in mythology, particularly those tales of the Greek masters In these tales we have much ofthe classic quest element so associated with epic fantasy (more on this later.) but also a host ofthe monsters and god-like figures that have come in time to inhabit the genre. As fantasy author Mark Chadbourn, twice British Fantasy Award winner, says For me, the myths of ancient civilisations are the forerunners of the genre, Many modern books still draw on the archetypes of those age-old stories, It was probably a reading of Greek myths as a kd that fired my interest in fantasy and set me off on a quest to find contemporary authors The influence of these classical tales can be felt across many forms of literature, representing much ofthe formative years of written storytelling, However itis fair to say that it was only really in the twentieth century that fantasy fiction found, its true and distinctive voice, And that came via one of the true titans of the field, and an author whose influence is still strongly felt today — JR Tolkien, The long shadow The Hobbit and The Lord of the Rin reading for any aspiring writer, and titles that set down the are no doubt essential blueprint for what has become known as epic fantasy ~ the vast and sweeping quest, the heroic band, the fantastical monsters (and sometimes main characters), the wizardry and magic. With these two titles, a genre was born, offering great excitement and opportunities for authors going forward. Epic fantasy is ‘a gente that allows an author to build an extensive world from the landscape through to the society, create characters with substantial and over-reaching storylines over a number of books and also set multiple tales within these Imagined worlds But, even today, it can still be difficult to break away from the restrictions present in the works of Tolkien. I's often, dubbed within the genre “the long shadow’ ~ something that undoubtedly still casts an influence over the genre today, and will probably do so for many years to come, Mark ‘Chadbourn concludes: I don’t think there can be any doubt that Tolkien’s influence was ultimately good, He has a few detractors these days ~ China Mieville for one - but the the Rings was the foundation on which publishing built the fantasy genre’ Other influential figures in these early days of the genre are Mervyn Peake, Robert E Howard - most famously ‘creator of Conan the Barbarian ~ and CS Lewis, author of the Chronicles of Narnia. Lewis is a particularly interesting example, as the Narnia series could well be considered among the first young adult fantasy. success of The Lord o Emergence and growth Te was truly come the 1960s and 70s that fantasy began to enjoy a consistent popular appeal. While the emergence of SF had begun somewhat earlier, fantasy's boom was far more explosive and continues to see it outselling is sister ‘genre of science-fiction substantially, Works by the likes of ‘Anne McCaffrey, Michael Moorcock and Ursula K Le Guin Fantastic realms @ were first appearing in the 1960s, and this popularity was sometimes with strong elements of romance and erotica continued throughout the 1970s, with key genre figures such Again, this is another subgente that can be dominated by as Terry Brooks and Stephen Donaldson emerging in this time. established names, but continuing high demand means that Since then, there has been much discussion about what makes there are more opportunities for up-and-coming talent. fantasy fiction’ distinct from other fields. One suggestion What we have today in fantasy is a growing genre, offering has been the level and volume of worldbuilding, whilst the great opportunities for authors looking to write stories within a magical and mythical has also been suggested as a kind of vibrant setting and location. There is a tradition to be aware of, criteria, No definition of any genre is perfect, of course, and but also chances to break this tradition that were perhaps not the same goes for fantasy fiction. However fantasy fiction in present in the earliest days ofthe fcld. It is also a genre with this era — and for many years going forward —was still often stunning popularity among readers, both male and female, and living in the long shadow of Tolkien. there is no sign ofthis boom drawing to a close. Supported by a very strong line-up of fantasy TV and movies, I suspect this is a Fantasy today genre that may not have stopped growing yet Fantasy has continued to boom, and there is still a large Mark Chadbourn sums up the success of fantasy in the proportion of the auclience more than happy to devour the _ current climate: ‘There are several factors. After The Lord of ‘pic fantasy that has thrived so much over the last ity years. the Rings on film and Gavte of Thrones on TY, a lot of people However, as with so many different genres, are now comfortable with the idea of fantasy as mainstream things will always inevitably change. In ecent storytelling, That wasn’t always the case. Readers have ‘years we have certainly seen a tendency for been getting, hefty and sometimes painful dose of real fantasy fiction to offer something substantially from the world around us for some time now, and I think darker than has often been the tradition. The they like new worlds in which they can escape, And it’s also adventure element and classical good vs evil a fact that success begets success. When people see their has begun to give way to heroes of dubious friends and family reading fantasy, they like to try it for ethics and motives, and increasing moral grey themselves.’ a areas. Authors such as George RR Martin, Joe Abercrombie, Mark Lawrence and Richard Morgan have offered fine examples of this, new breed of fantasy for those interested in what constitutes ‘a growing movement in the field, Anyone watching Game of Thrones will tell you just how dark that can get. RECOMMENDED READING LISt EygNn> yy We've also seen a huge growth in fantasy fiction for ‘© URR Tolkien: The Hobbit (1937) young adults, with the genre doing huge business in that ‘© Robert E Howard -The Conan series (1952 onwards) ‘area. Fantasy is indeed ideally set up as a genre for young, ‘© Ursula K Le Guin: A Wizard of Earthsea (1968) characters to become heroes and find their own place in ‘and the remainder of the Earthsea Cycle the world through those adventures ~ the bildungsroman, ‘* Roger Zelazny: Nine Princes in Amber (1970) ‘element that exists in so much YA fiction. Of course ‘that ‘and the remainder of the Amber series ook’ by JK Rowling has been a publishing phenomena, ‘* Michael Moorcock: Ehic of Melnibone (1972) and by far and away the most successful example of this, ‘and the remainder of the Elric series But authors such as Rick Riordan, Christopher Paolini, Eoin —_ Terry Brooks: The Sword of Shannara 1977) Colfer and Philip Pullman have also found huge followings _and the remainder of the Shannare trilogy by employing the tenets of the genre for a younger audience. __« David Eddings: Pawn of Prophecy (1982) Itis also interesting how much young adult fantasy is read by and the remainder of The Belgariad series substantially older readers. ‘= Raymond E Feist: Magician (1982) Mark Chadbourn adds, I was discussing this with my US__and the remainder of The Riftwar Saga ‘editor recently and he believes that in the + Steven Eriksson: Gardens of the (Moon (1999) near future, all fantasy and SF will be YA. _and the remainder of the Malazan Books of the Fallen In some quarters, there's been a move to. _# James Barclay: Dawnthief (1999) ‘kind of fantasy that fits the YA mould _and the remainder of the Chronicles of the Raven series but is still marketed to adults.” ‘Trudi Canavan: The Magician's Guild (2001) Of course, there are many other ‘and the remainder of the Black Magician Tilogy offshoots and subsets of fantasy that ‘Eoin Colfer: Artemis Fowl (2001) have found a place in the market today. _® Brandon Sanderson: he Final Empire (2006) ‘The comic fantasy of the likes of Terry ‘and the remainder of the Mistbom trilogy Pratchett and Tom Holt continue to sell « Joe Abercrombie: The Blade Itself (2008) by the cartload, although the prevailing and the remainder of The First Law series wisdom seems to be that there * Adrian Tohaikovsky: Empire in Black and Gold (2008), little space for new authors in this ‘and the remainder of The Shadows of the Apt series, area. Urban fantasy ~ from the likes of Laurell K Hamilton, ‘Peter Brett: The Painted! Man (2008) Kim Harrison and Kelley Armstrong ~ move the monsters ‘and the remainder of The Demon Cycle and myths from imagined worlds to reality as we know it, Alex Davis looks at the current trend for urban fantasy and how writers can make a success of the fast-growing genre | ss we explored in our fantasy article, epic or traditional fantasy can be a genre with a host of tropes and archetypes that have been in existence for some time. But now more than ever we are starting to see new subgenres of bet the ‘grimdark’ work of the likes of Joe Abercrombie and Mark Lawrence, or the fantasy emerge increasingly popular world of urban fantasy. Much epic fantasy has a tendency to look backward to periods of history, and as such towns and cities were not as substantial a part of the landscape. This can give more traditional fantasy a feel of the rural about it. Urban fantasy has a distinctly more modern feel, and as the name suggests takes place in the cities and towns that surround us. Fantastical elements are still brought tothe table, but these are moved into the real world as we know it. Whether presenting a setting entirely altered from our own by these otherworldly agents, or showing us an underworld that exists alongside our own, urban fantasy isa genre that is increasingly ‘making its own way and indeed crafting its own spot in the market place, Urban fantasy author Suzanne McLeod, who writes the Spellerackers.com series, sums up this difference as follows: ‘Epic fantasy is obviously epic in story-time, which can span decades and even centuries, and in story-geography (there's a reason for all those maps), plus i often has a lange cast with the story being told through different characters’ point of view. Whereas urban fantasy stories often take place within a few weeks, sometimes only days. They tend to havea smaller backdrop when it comes to setting, and the story is usually told from the point of view ofone main character. This can make urban fantasy more immediate, more Immersive for the reader, and inerease the suspense and tension in the story as i's usually time-Timited. This article will explore exactly what urban fantasy is, and {fer some useful tips for writers looking to explore this relatively new arena of fiction. Keaphag teal The reasons behind the popularity of urban fantasy right now are multifold, and probably extend far beyond anything we could explore within this word limit. However, fist ofall, the move from imagined world to real world is something that may help many readers access these stories. The familiarity of the landscape might be more comfortable territory to fans coming, ‘background. Secon ‘of tropes is somewhat different to traditional fantasy. Urban from a mor the use erary readin fantasy probably has more in common with hortor as a source of raw material, with tales often featuring vampires, werewolves, ‘zombies, demons and other preternatural entities. As Suzanne MeLeod puts it: I think there are two [key elements}. The first is the fantasy el paranormal creatures (such as vamps, werewolves, witches, etc) who live alongside humans (openly or secretly), and that the supes and /or humans have some sort of magic or paranormal abilities, The second key element isthe setting, which is often ino near a large urban area ~ like London of New York ~ and as our real world, ot has enough familiar nent, in that the world contains supernatural or is easily recognisabl references thatit could be a product of our real world under the influence of the fantastical, whether the story is st in the past, present, of future: The popularity of horvor fiction may have been on the wane ~ although itis seeing the first small resurgence in some time now — but these monsters are familiar from television and film. And TV is also undoubtedily an important factor. Shows like Urban fantasy writing exercise ‘As mentioned, urban fantasy often uses many classic hortor archetypes, and we'llbe using ths es a starting point for our ‘exerise. Fist of al select one ofthe folowing creatures as 8 foundation for our story Vampire * Zombie Werewolf * Ghost Demon Fairy * Egyptian mummy O80) 5 “Then, select an everyday locaton from thelist below. Urban fantasy is very much based in the world as we know it, and Certainly not always in the dark alleyways and shady comers of the urban environment! * Supermarket * Cafe or pub * Bookshop or ibrary * University + Cinema or theatre Next we'llbe envisaging a simple scene as a precursor to our story. Imagine yourself on an ordinary day, going into one of the locations above. Wile you are there, you see a mpse ofthe monster of your choice. I's only you that notices iif you are ‘with friends, oF there are oer people there, none of ther ere ‘aware oft. With your interest piqued, you goto investigate. ‘Where does the creature go, and how do you follow it there? How does the creature keep is presence inthe citytown secret? Do you get a sense of what the aiintention of the Creature is? Is it meeting some ofits felows? Use this pursuit ‘and investigation as the foundation to gat you wring Perhaps you become involved with a fll nvestigation, or ‘with an organisation of some kind = perhaps you are drawn into this secret world as an individual. Simply fel fre to play with the city, the monsters and the scope that urban fantasy can offer And don't forget to try and involve some human problerns 2s wel as those superhuman troubles. snN99 399 9959 c Buffy the Vampire Slayer, Supernatural, True Blood and The Vampire Diaries, among many others, could easily be considered urban fantasy. The many fans of these particular programmes may well be providing a good base of readers forthe field. Add inthe fact, that a host of these are famously based on novels and you have ‘an ideal inlet for viewers to pick up books. Itis also important that many urban fantasy books focus on series, which for some time has been a productive route for ‘both genre writers and publishers. Readers ae able to follow characters through a whole host of novels, with series such as Laurell K Hamilton's bestselling Anita Blake: Vampire Hunter ‘books standing at 22 titles and counting, and sil regularly featuring on bestseller lists, This gives them a clear commercial appeal for publishers, who are aware ofthe long-term potential ‘of a successful itl in the il ‘While readers continue to lap up such titles, you can expect their great popularity to continue ~ something Suzanne McLeod puts down to a host of different reasons. ‘I think it’s down to alot of things which feed off of each other, and which are responsible for not only the popularity of urban fantasy, but for the popularity of fantasy overall. The amazing Harry Potter zeitgeist ‘which hit both kids and adults, and which helped to widen fantasy’s appeal to a more mainstream audience (and of course the kids who read Harry Potter are now adults and continuing to read fantasy in all its subgenres). The astonishing technol advances ofthe 1980s which included computer games —a lot of which had /have fantasy elements, again widening fantasy’s, appeal - followed by the “backlash” (due to stress, commercial consumerism, economic downturn, etc, that began in the nineties and saw a shift back to nature and, along with it the revival of interest in myths, legends, and other more esoteric part of life. The need for our entertainment to have a higher escapism quality, again due in part to the continued economic downturn. And, in urban fantasy’s case in particula, the fact that it is st in an alternative version of our world (la Harry Potter) which makes the stories and characters more accessible for those readers who are intrigued by the fantastical elements but don't want to have to immerse themselves in a whole new ‘world of cultural, societal, economic, political, and geographical differences in order to enjoy the books. Last but not leas, the majority of urban fantasy protagonists are female, and they've taken on roles which, in the past, in fantasy stories (less so in other genres like crime), have usually been portrayed by a male character, which can mean that as main characters they deal with traditional fantasy story tropes in different ways, bringing again a new dimension and freshness tothe fantasy genre, The human factor Of course, as in much fantasy, the key protagonists are often, human, as this makes them easier to write for an author ~and. indeed to relate to asa reader. But in urban fantasy they tend to be surrounded by a cast of characters that are anything but human, Much urban fantasy presents a human protagonist with a role to destroy or control these non-human entities, sometimes, ‘working on their own and on other occasions working in comers ofthe police force and the FBI or other, more secretive organisations. Another important factor in urban fantasy is often to do with human problems. While our leads may well have ‘more serious problems with the supernatural or uncanny, they also have issues with relationships, friendships and family that feel very real and present-day. This contrast and balance often provicles the conflict in urban fantasy titles. SUGGESTED iia can * Ben Aaronowitch, The Rivers of London Series + Kelley Armstrong, Women of the Otherworld series. * Jim Butcher, The Harry Dresden series * Mike Carey, The Felix Castor series * Laurell K Hamitton, The Anita Blake series * Kim Harrison, The Rachel Morgan Series * Suzanne McLeod, The Spellcrackers.com series Burcu ebeevlicvmenrtcs Teen emere emec EE Teny cna ere) Pree ene Coa rat antasy has for a long time been the most commercially successful of the branches of genre fiction, particularly when compared to horror and science-fiction, It is relatively common jor fantasy titles to feature highly on bestseller charts, and this remains a genre ‘with a readership thats both lyal and willing toinvest ina significant number of books, Julie Crisp, editorial director at Tor UK, = hasn’t looked back since she fel in love BME sith Dune atage ten She says: “As with the rest of the book marketplace there has been a slight downturn in sales of fantasy and science fiction. Having said that, the downturn is considerably less in this particular area and, certainly for Tor UK we've actually seen out sales in both the physical and digital markets grow. In part it's because the fans are so loyal and prolific in their reading, One of the most notable and long. asting trends within fantasy fiction remains the trilogy or, beyond that, the ries, Rather than looking for a single stand-alone book, many fantasy readers and fans enjoy following characters, and plotlines over a substantial number of books. The chance to explore story throughout a series gives not only the tru fantasy, bu ‘epic feel associated with much also the chance for the setting and world to be explored in significant detail. As such, authors may find it more difficult to sella stand-alone fantasy novel to an agent or publisher, or indeed be encouraged to develop their single book into a more substantial series, It is fair to say that ‘epic’ or “heroic fantasy still makes up a large part of the market in both the UK and the 5, but over the last few years we seen the growth of what has been dubbed “urban fantasy’. Whilst traditional, heroic fantasy will usually be set in another world of some kind and feature otherworldly characters and archetypes, urban fantasy often brings this to the world as we know it, placing itin cities and countryside that we can clearly ecognise. Great recent examples of this include authors such as Ben Aaronovitch, Myke Cole and Benedict Jacka Julie Crisp also identifies a number RECOMMENDED READING of changes in the last decade: ‘When [first started reading as a teenager, it was very traditional David Eddings, Robe were good, the villains were evil and you knew Jordan-style fantasy. The heroes after a long struggle against hardship, the good guys usually won the day. But in the last ten years or so there's been a shift to the morally ambiguous haracter with varying hades of grey ries between good and evil have been less defined — more real, and ‘eminently entertaining to read - you're never quite sure how it's going to end! Magic became less ofthe front story f itappeared at all, And we moved out of medieval: and more incidental based landscapes and societies to a variety of diferent settings, sometimes even straying into the experimental and evolution from traditional fantasy tropes, the term ‘fantasy’ itself, has over the years covered a much broader spectrum of peculative fiction with a numberof sub categories: steampunk, new weird, urban, contemporary, historical... and the rest, and is constantly evolving and changi into new and exciting trop. interviews, essays and writing advic For those of you wanting to find out more about historical nry, culture and society, 'd recommend looking into some of the roleplaying ms ere, which offer concise and easy to understand information designed to fit conveniently into stories and plotlines. These provide ‘an excellent starting point for lending some flavour to your Crown offers a range of books as PDFs, generally ‘available for less than £10 - you can visit their catalog at http:/ironcrown.com/rolemaster/catalog-page/ stories. I erate PM RE LCN imp nh lbw we ‘= Voyager at Harper Collins + Gollancz at Orion Books Of course, to reach these major publishers, you will have to be represented by a literary agent. Itis vitally important to ensure that the agent you are looking for represents the ‘genre, and also that they have a history ff success in the field ‘Agents with well-known clients should be keen to announce this on their ‘website, $0 look out for this list when ‘*Tor at Pan MacMilan + Orbit at Little Brown ‘Transworld at Random House + Solaris at Rebellion Books ‘+ Angry Robot you visit the site. Also be sure to read the agent's ignore or not even read these. WRITING FANTASY - THINK BIG! turban fantasy, whilst being more placed in reality, has significant fantastical elements within i that will have an impact on the world as we know it. Spend some time considering the world in which you are going to set your story: its landscape and geography, its polities, its laws and its culture. An immersive world can capture the imagination of readers, as well as providing you with many ideas for your stories Ifa setting has real depth, it can pose what-if questions that can see the cemexgence of key plot points or indeed whole storylines. It is also vital that your world remains consistent throughout your writing. Anything that you set up in Chapter One, or Book One, will have to remain the case throughout the entire story or series. This can only ‘be changed if it fits comfortably within the plot ~ we want to avoid the dreaded ‘deus ex machina’ at any costs. Breaking the rules that you have established for your world can also break the suspension of disbelief in your readers, and make for a very frustrating book. ‘Whilst much epic fantasy is set in worlds that closely resemble historical periods ~ particularly the medieval area ~ this isnot historical fiction. You may want to do some research to lend some authenticity, but this is a fictional setting that you are developing. If you want to have key differences to the eal-life setting you are inspired by, then do so. As long as you can explain logically and creatively how these have come about, then you have absolutely free rein If you are looking to get published in fantasy, it is significantly easier to ddo so with a series. As such, you need to keep an eye not only on making «ach book exciting and satisfying in its own right, but also be aware of the long game. What is your series ultimately building towards? Many fantasy authors will plan book one in detail, then develop shorter plans for subsequent books in the series. In this way the book you are about to write is given the necessary amount of attention, but the overarching, story ofthe series remains in your mind. To use the well-known example of the Harry Potter series, whilst each book contained its own storylines and plot points, the overarching story of the conflict between Harry Potter and Voldemort continued and led to their final confrontation. The final words of advice to fantasy writers come from Julie Crisp: ‘Write what you love, write for yourself. Don't try to write fora tren. (On the other hand, if you have a passion for fluffy, pink unicorns ~ expect that it might bea hard sell! Take advice, take criticism and learn from it~ and don’t ask friends and family to read your manuscript. They'll usually tell you what you want to hear rather than what you need to hear... O ne of the key things in any fantasy novel is the setting itself, Even ‘submission guidelines and stick to them = the easiest way to get rejected is to Some of the leading agents representing fantasy fiction are John Jarrold www johnjarrold.co.uk * Mic Cheetham Associated www.miecheetham.com * Zeno Agency http://zenoagency.com/ Whilst these agents and agencies offer ‘quite a specialised service in genre fiction, many larger agencies will have individuals dealing with fantasy fiction as part of a wider portfolio, EXERCISE - PLAYING WITH ARCHETYPES is loaded with archetypal characters - not coniy non-human creatures such as dwarves, ‘elves and dragons, but also human archetypes ‘such as wizards, barbarians, necromancers ‘etc. This exercise will ook at how you can use these archetypes in different way - something ‘that much good fantasy fiction does. Select a fantasy archetype of your choosing ‘As wellas those mentioned above, you might consider orcs, goblins, trolls, ogres and Giants, Start to list some of the key facets of this archetype. Do some online research it necessary 1o add to what you already know, Look at one particular facet of this archetype, ‘and make this the opposite of the usual ‘expectation, For examele, you might end up with ‘a dwarf who car'thold his dink, @ dragon who cart fl, an eff who doesn't ke the forest... any (of these and many more are possibilities. Taking our atered archetype, we're going to ‘write two short seenes. First of al, write a scene featuring your character among their own kind. How is this difference viewed? Is it revered or a ‘subject of ridicule? Does it make your character {fol ostracised, popular, sol-conscious? Next, let's write @ scene featuring your Character artving into @ human settiement. How are they seen by the townsfolk? Are their differences seen as a good thing or a bad thing there? Does it make them easier to accept, of cast them in @ more suspicious light? The concept of the outsider is often used in fantasy, and this simple and short exercise ‘explores this idea. You may want to try the above exercise a few times with different archetypes to see if you can come up with ‘an idea or core character concept that really ‘2ppeals to you: | tis fairto say that epic fantasy in particular worn. writers-online.co.uk Va AED CU Lae eee UC Ce chs [OR oO reese eee oe oe Unlimited satisfaction one low price Cheap constant access to piping hot media Protect your downloadings from Big brother Safer, than torrent-trackers 18 years of seamless operation and our users' satisfaction Oy rey 4-43 Pie Ma a meolouls OTT) UNEP da lelit tem (ola alo ma 1A We have everything for all of your needs. Just open https://avxlive.icu ver the course of many years, tracing all the way ‘back to the 1940s and 19506, science-fiction has always been a dependable market. In the earliest days of the genre, there were a host of magazines ~ commonly known as the ‘pulp magazines’ — which enabled many SF writers to first make a name for themselves, or indeed make a living from short fiction alone. This is stl as the ‘golden age of science-fiction’, with authors such as Ray Bradbury, Arthur C Clarke, Isaac Asimov, Robert A Heinlein referred to Itis right that this is called a g age, with so many legendary authors to its credit, but that did not necessarily ‘mean more sales atthe time than we see now. The market for science-fiction for a Jong time has been something you could set your watch by. In the same manner as crime, romance and historical fiction, SF isa genre with an established readership and as such new titles in the field can be expected to achieve or perhaps exceed their targets with regularity However, its fair to say that SF has been a growth area over the last decade Ned and a recent record of steady growth. It is unquestionably a good time to be an SE writer ~ and indeed an SF publ Whether the mainstream popularity of SF television and film has fed into this is ultimately hard to tell Johan Jarrold, one of the By UK's leading literary agents Pe fo sit atough fantasy remains the largest York and Sunday Times bestseller lists part of the overall SEF ente, SF has certainly been and many more rising to prominence for the first time. or so, with many authors within the genre arriving for the first time on the stronger commercially over the past decade than it was for the fifteen yea ‘or more before that; part owing to This exercise is going to look at the concept of extrapolation. This is the process of looking at a trend and ‘making a sensible estimate based on the information in front of you. Pick a present trend in contemporary society that is. of interest to you. This could be any of the following, o many more: the growth of social media; cloning/genetic tengineering; overpopulation; poverty; creating sustainable energy and overuse of fossil fuels; censorship. Simply pick a theme that has recently piqued your interest Look a little into the trend, and where things are at currently. An initial read on Wikipedia should yield some Useful information to begin with, then follow this up with a search on a major news site or newspaper BEC, Sky News, the Guaraian, The Telegraph etc. Make a few notes on matters tht interest you as. you go. Try and consider what the logical next step ‘may be, then take this to its most extreme conclusion. Much SF is based on looking at today’s world and then tracing the potential path as we go forward. Charlie Brooker's recent series Black Mirroris an excellent example of this, and available to watch for free on 40D. Take the idea developed on the right as an example: TREND: Reality TV EXTRAPOLATION: With the growth in realty television, ‘many minor celebrities realise that their television programmes are not sufficient to satisfy their audiences. [As such, a few reality stars launch their own TV channels, Which follow them 24 hours a day. Such is the initial ss that within a few years there are thousands of television channels devoted to following the whole life of single individuals. Television sales sky-rocket as celebrity obsessed viewers buy multiple sets to keep up with a host of celebrities at once, The end result? The complete demise of fictional programming on television. Comedy, drama and per ese MIRROR 1} Pra SN fy ere Nola The Encyclopedia of Scienoe Fiction recently passed the astounding landmark of having 4 millon words of articles and information on the field. There's no more ‘extensive resource out there, and the website is easly searchable to boot. You can (et stated at wwwst- ‘encyclopedia.com, ‘There are many guides ‘to writing science ition avaiable, but two ofthe most recommended are Orson Scott Card's How to White Science Fiction and Fantasy ~ penned by one of the genres most established leading lights ~2s well as the handy 10) Wting Prompts for ScienceFiction and Fantasy Witers by LK Grant, which can help you find your creativity and ideas in the genre. ‘There is @ hugely active events and convention scene within science-fiction, which can be a great way to meet fellow writers, ‘and hear directly from those working inside the industry. There {are many resources listing these activites, with David LLangford’s supers Ansible being highly recommended. You can check out the homepage at www.ansible ‘co.uk and also visit their extensive events listing at http://news.ensible.co.uk For those looking for ‘a monthly fx of books ‘and industry information, both SFX end Safi Now magazines feature ‘excellent sections on bbooks and writing. Both publications are available in the majority of newsagents, or alternatively you can stop by their respective websites at wwvw.sfx. ‘co.uk and wwwselfinow.co.uk SAUCE) pee rec the prevalence of new UK science-fiction novelists who have been successful commercially a well as critically ~for instance, Alastair Reynolds, Richard Morgan, Charles Stross, Neil Asher and Hannu Rojaniemi Writing science-fiction: the broadest of spectrums key point that cannot be emphasised ‘enough is that just because it has science in the title, writing science-fiction doesn't requite any technical knowledge whatsoever. SF is a hugely broad gente, and while what is dubbed ‘hard SF” observes technological rigour, there is a ‘great deal of ‘soft SF’ out there. Soft SF is far more interested in the social, cultural and philosophical aspects of science-fiction, In this ight you could argue that books such as 1984, The Handmaid's Tale, Never Let ‘Me Go, A Clackwwork Orange and Brace New World are classics of science-fiction Building your world is important within the field of science-fiction, What often lifts a strong idea to the next level is a well- realised setting into which the author has puta lot of thought. SF tends to take place in the future, or an alternative version of the Earth as we know it. How is this different from the present day? It’s well worth considering key societal questions such as where people live, what they do for aliving, what they do for leisure, how the world is governed, ete. This ean be surprisingly informative in developing your setting in depth, ‘The conflicts in science-fiction often ‘emerge from the inherent conflicts within your world, and then zoom in one character close to that matter. For example, Ray Bradbury's classic Fahrenheit 451 explores the issue of what the world would be like if all books were ‘burned. Then it explores this through the eyes of a character at its very heart ireman’, charged with the burning of these books. When he begins to take an interest in the books themselves, the conflict truly emerges. Don’t get too bogged down in description. Your setting may be fabulous, with any number of spectacular sights to convey to the reader. However itis vital to avoid the habit of info- dumping and giving long descriptions of landscapes, or explanations of scientific or technological advances. There are two vital things to bear in mind. Firstly, nothing should hold up the story and the movement ofthe plot, no matter how interesting you may consider that aspect of your world to be. Secondly, it is also crucial to give the reader the key information. Give them enough to picture the scene and come on the journey with ‘you. Ideally you want to give no more than that. Remember to give credit to the power of your reader's imagination, Given even scant detail, they will be able to form theie own impression. Getting published in science-fiction Science-fiction, as a perennially popular ‘gente, is covered by an imprint atall the major London publishers. These imprints allo editors and publicists to specialise in the field, focussing on the new talent, events scene and marketing opportunities ‘within the field. You may have seen many of the names below without even realising their parent organisation! * Voyager at Harper Collins + Gollancz at Orion Books Tor at Pan Macmillan + Orbit at Little Brown «Transworld at Random House Solaris at Rebellion Books ‘Angry Robot ‘There are also many other UK publishers working in the field without 1 specific imprint, including the likes of Headline, Hodder and Stoughton and Titan Books. As such, there are significant ‘opportunities for new writers to gain publication within the fed, Of course, to reach these major Publishers, you will have to go through aliterary agent. But just what is an agent looking for ina science-fiction title? John Jarrold says: ‘We know it when we see it Invention, great characters, wonderful setting ~ and above all prose and stor telling that makes us go “Wow!” It doesn’t matter if you have a great idea unless you are also a wonderful writer and storyteller. ‘You need to write what moves you, but be aware that there is a market” There is also a hugely active magazine scene within science-fiction, with leading publications including Asimoo' Interzone, Analog and Clarkesworld and ‘many more looking for short stories as well as longer fiction, Cena The spirit 0 MUA Since humans began scaring each other by the campfire, spooky tales have been a staple of the storyteller's repertoire. Learn how to tug on your readers’ nerves with advice from Alex Davis host stories have always been popular with BU ceaciers, and the tradition isa fascinating one in many ways, Surely one of the most accessible forms of storytelling, it spans all levels of literary achie turban legends to a proud literary tradition taking in Charles Dickens, Guy De Maupassant and many more Here, we'll be exploring ghost stories and looking at some great approaches in writing them, Itcould easily be argued that the ghost story is infact a sment, from folksy campfire tales and subgenre of horror fiction, but this still eaves significant variations: as ‘romantic comedy’ would differ from ‘comedy’ in its wider sense, and ‘urban fantasy’ might function very differently ‘You might think they are both the same thing ~ and there are elements in common. that pull the two apart. As acclaimed author Mark Morris puts it: "There's always been the inference, I think, that ghost stories re altogether more respectable, but personally I don’t think that’s the case, 've always thought of ghost stories as simply being a sub-set of butthere ate also vital differences are more genteel than hortor stories, and theref horror stories, in that horror asa genre has very wide parameters almost limitless parameters, i fact ~ whereas in order for a ghost story to be a true ghost story, there would generally be a supernatural element involved, REVEALING TECHNIQUES One of the key differences between ghost stories and hortor stories is in pacing, and in particular the timing of the ‘reveal’. The reveal concerns that pivotal moment in the story where the characteris ‘unequivocally faced with the uncanny. 'm not talking about the faint noise heaed downstairs, or the hint of something moving in the mirror~ this is the moment that absolutely cannot be denied, and the character has to admit they are in the midst of something beyond their understanding, Asa rule of thumb, the ghost story relies very heavily on atmosphere, as it tends to leave the reveal until late inthe tale. Take and MR James! (Oh Whistle, an 11 Come to You, My Lad and it's very noticeable how close to the end of the story the true moment of teror is. In horror fiction, this kind of reveal tends to come far earlier. So, in the ghost story what we tend to haveis a steady build towards a real crescendo, which I typify with four phases. It’s the two classes in the field ~ Dickens! The Si slow escalation rot, oing from minor events to the life changing and terrifying finale PHASE 1: Easy to disbelieve The early phases of ghost stories will feature events that may tly unusual, but can be very easily written off. We've all heard those little noises our houses make once in a while ~ the bes! house setling, the water pipes... We don’t instantly leap to the conclusion something supernatural is going on — why would we and why would our characters? So you can have afew minor ‘events at the beginning of the story to set things up and start establishing mood. PHASE 2: Hard to disbelieve The second phase sees things take a step up the ‘weirdometer’ as characters might encounter the supernatural alittle more closely A sense of being watched, or another presence in the room; something caught out of the corner ofthe eye; TVs or stereos ‘coming on unexpectedly; things that are unusual, but again wouldn't prompt re "unease, but not enough to truly be afraid of ghostly events, ar. It might give our characters a little PHASE 3: Hard to deny The third phase is important, as it sees the truly uncanny really impinge on the character for the firs time. This might be the definite sight ofa strange figure in the room, messages arriving, ‘on the phone, voices heard in the dead of night. Itis worth remembering that characters will generally only accept the Fantastic realms @ ‘supematural when itis absolutely irrefutable. Characters might think that they are imagining things, or even consider that they are becoming mentally unstable, before conceding that something ‘genuinely otherworldly is happening PHASE 4: Impossible to deny This s where the reveal truly takes place~that moment thatthe ghostly element appears clearly offering undeniable evidence of its existence. t may speak or interact with the character, offer a threat, or even resolution to some past issue. This reveal is also a key moment of error fr the reader and ifthe build through the phases has been done wel the reader should be primed tobe scared by ths final revelation, This scene will tend to take place at or towards the very end of the story CONTEXT IS EVERYTHING patient build is an important part of any ghost story, but the ‘other vital element is thatthe ghostly element MEANS something to the lead character. If your character happens to see a ghost at, random, that might be frightening, but without context it's not ‘offering the psychological creep that ghost stories deliver so well Many of the classic ghost stories featured characters who were professors or scientists, natural sceptics, and as such the nightmare for them was not just coming, across the supernatural, but being, forced to accept that their world-view was flawed or wrong. If the spirit means nothing to the character, then what you have isa shock rather than a seare ‘And of course that context needs to be builtin throughout the story. Ifthe ghost lays into the natural fears and paranoias of ‘our characters, then the story is bound to be more effective. If the ‘ghosts a person known to the character in some way, that can be ‘one good approach. I the ghost i ‘unknown’ to the character, itimportant to build some context for the reader ~ this will often involve elements of history, perhaps books or diary entries (MR James is a particularly strong purveyor of this device) or might involve folk tales or myths. Make sure that the ghost means something, deeper to the character, and the fear in the reveal stage will be magnified ‘This importance of context and character —is described brilliantly by horror author Mark Morris: ‘All good fiction is ultimately about character, and about providing insights into what it means to be a human being, to be mortal, to be living a life and facing the questions we each of us face on a day to day basis. What horror stories and ghost stories often do are expand our horizons, show us something beyond what we know and believe, and therefore challenge our perceptions and beliefs. Ultimately, though, as Isaid, good fiction is all about people - about characters we believe in and find interesting enough to accompany ‘on their various journey's’ ‘Appatticularly great example of this in film format would be the superb Japanese film Ring or even the US remake, The Ring ~ which for me isa masterclass in this kind of build. That's evidenced by the fact tha I still can’t bring myself to watch it again after two weeks of sleepless nights first time around. CREATING AN ATMOSPHERE ‘The other key to great ghost stories is to establish strong atmosphere, As we are holding back the reveal, we can't rely on. big scares at every turn, so atmosphere is what keeps the reader hooked and develops the sense of unease we are looking for. — Ezz» —¥_— Id like you to select one of the images: below, and envisage itas the setting for a ghost story. None of them are pethaps ‘stereotypical haunted territory, but with careful use of language the right kind of atmosphere can be created, Write a short

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