It’s been done. All too many times, if you listen to some. The story is world famous, well known. Many know its details by heart. Yet it’s compelling and you have an idea you know is different—one no one’s done before. So how do you keep it fresh? Adapting a well-known story for fiction has many challenges, but above them all is the issue of freshness, avoiding predictability.
There are some techniques which work well to invigorate the retelling:
1) Use the original story as character history/backstory so the parallels are interesting but you don’t have to follow it to the letter—In The Worker Prince, my debut novel, because my characters are colonists to space from Earth and Protestants, they share the religious history of Christianity so the Moses story, which inspired mine, is prehistory. Some parallels from that story occur, when a prince discovers he was born a slave and helps the slaves fight for freedom, for example. But having established that as prehistory, I was able to depart quite a bit from biblical elements like the plagues, miracles, and parting of the Red Sea to tell a different, although familiar story. The inspiration remains the same but the story takes new and interesting twists.
2) Change the timeline (order)– What if the events are the same but they don’t happen in the same order? Sometimes the order of events is not vital to the story and you can make new twists and turns just be changing the order of events and, thus, how those various events affect each other. It can lead to new conflicts and new undercurrents which didn’t exist in the original story and make it more interesting for those familiar with the story on which yours is based.
3) Identify the core elements and throw away less important ones—In The Worker Prince I did exactly this: keeping the idea of one people enslaving another under a ruthless dictator, a prince secretly adopted from slaves, ideological conflict, and injustice but dumping things like the Red Sea, years of exile in a desert, plagues, etc. It kept the story familiar and grounded in the tropes of the original while allowing me to take it in totally different and surprising directions. Some scenes and events are vital for the story to remain familiar. The same can be said of key characters. Others can be thrown away or reinvented to keep things original and unique in your telling.
4) Reverse roles, species or genders of characters—What if your hero in the original story was male but in your story becomes female? What if a human character becomes alien or animal? What about a robot? What about other characters? Can your sidekick become the love interest? What if your antagonist becomes a relative instead of a social acquaintance? What if the characters take on bigger roles and multiple functions they didn’t have in the original? The differences between genders, species, etc. can then be exploited for new aspects of your story and new twists and turns different from the original in fun ways.
5) Change the setting—Setting your story in a culture and context far removed from the original can provide interesting opportunities. I set The Worker Prince in distant space far from Earth with different aliens and plant species, etc. It allowed me to have technology and related problems totally foreign to the original Moses story and made for a more fun and interesting telling for me as storyteller and for readers. The same can be true of resetting the story in a different decade or era from the one in which it originally occurred. Imagine, if you will, a steampunk Cinderella or Sherlock Holmes in the 24th Century. All kinds of possibilities present themselves.
All of these suggestions are about making the story your own. If you can find ways to do that, you can create a fresh experience and telling while utilizing powerful elements of the familiarity and themes of the original story. Grounding your story in a well-known tale, definitely has advantages. But a little creative rethinking can make it even more powerful and draw in an audience of people it might not otherwise appeal to. It’s fun to work from a familiar foundation and structure. Especially if you love the story, it can stimulate the imagination. But if everyone knows the twists and turns and outcome of your story, why should they want to read it? I hope these suggestions give you ideas how the old can become new and fresh in the retelling.
Bryan Thomas Schmidt is the author of the space opera novelsThe Worker Prince—which received Honorable Mention on Barnes & Noble Book Club’s Best Science Fiction Releases of 2011—and The Returning, both from the space opera series Saga Of Davi Rhii. He also wrote the collection The North Star Serial, and short stories published in Tales Of The Talisman and the anthologies Of Fur And Fire and Wandering Weeds: Tales Of Rabid Vegetation, amongst others. A freelance professional editor and proofreader, he’s edited books for authors like Leon C. Metz, David Brown and Ellen C. Maze. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9:00 p.m. Eastern Time on Twitter (#sffwrtcht), where he interviews people like Mike Resnick, A.C. Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. He can be found online as @BryanThomasS on Twitter or via his website: www.bryanthomasschmidt.net. Excerpts from The Worker Prince can be found on his blog.
One of the highest compliments I’ve gotten on my debut novel, The Worker Prince, and I’ve heard it over and over, is that it “feels like reading Star Wars: A New Hope.” This was very deliberate on my part, and I referred a lot in writing it to Timothy Zahn’s Thrawn Trilogy and Kevin J. Anderson’s Jedi Academy books. It’s a challenge to capture the feel without going too far into imitation. And while watching the films repeatedly and reading tie-in books is definitely essential, I also think there are other factors which must be present to lend the right aura. Here are the 8 I’ve identified:
1) Your story must have an epic scope. Both Star Wars and The Worker Prince are stories about a quest of good vs. evil, to win justice over evil and save the universe, or at least their part of it. This is epic and requires bigness: big baddees, big ships, big planets and world, big stakes, big heroes, etc. You can’t really do it well staying inside an Enterprise or just on a single planet. There has to be a larger picture and bigger feel to capture it. Despite the different key focus of each movie or book, all encompass this epic scope of good vs. evil.
2) Larger than life characters. You need characters we can relate to, yes. Who can’t relate to the young farm boy with big dreams of a more exciting life somewhere else? Both Luke Skywalker and Davi Rhii (protagonist of The Worker Prince) share that trait. And thus, the first segments of both trilogies are coming of age tales about their quest to become men and men with a purpose. Han Solo and Leia are larger than life. Leia may be a petite figure but her attitude far outsizes her physical body. Han Solo is edgy. He comes off as dangerous and unpredictable, but, as we get to know him, he has a morality not so different from our other heroes, and, above all, he wants good to win. Chewbacca is another obvious example, as is Darth Vader. Both are feared on sight for similar and different reasons. And both are formidable foes. One possesses a kind, giving heart. The other is selfish and cruel. But neither does it half way. Vader takes his cruelty to the extreme just as Chewbacca takes his kindness to extremes with his loyalty and dedication to his friends. I gave Davi Rhii some companions who have trait like this. None of them is a copy or exactly identical to any Star Wars character. I was careful about this. Davi’s love interest, Tela, is a pilot, a slave, but she has Leia’s sass, values and strength of will. His companions Yao, a tall alien, and Farien, a shorter, bulker, edgier human, compete and banter with Davi throughout their adventures much like Luke, Han and Leia do. And the bad guy, Xalivar, is definitely a dark lord, even though he and Vader approach it very differently. The anti-heroes are not dominant in these worlds. Luke is pretty clear cut in his goodness as is Leia. Han teeters on the edge but he comes out good overall in the end. The same is true of characters in my saga. There are very clear cut bad and good characters, not a lot left up to reader interpretation.
3) Adrenaline filled, relentless action. High stakes require a sense of fast pace and constant jeopardy for your characters. They can never be totally at ease or seem to get ahead without something new and dangerous knocking them off course. The action scenes are intense, with real danger, and the character’s witty banter adds to both the urgency and tension while also infusing much needed humor at times. Zahn and Anderson’s action scenes were particular important to me in writing the many action sequences of The Worker Prince, because I wanted to capture this style. I also had to make sure the action only lets up for short periods. The story always had to keep its sense that the heroes’ lives were on the line.
4) An overarching ideology with which characters must wrestle and which they must interpret in living according to their own understandings. In Star Wars, this is called “The Force.” In The Worker Prince, I used a conflict of religions. Not only do all characters good and evil wrestle with what these belief systems mean for them and how to interpret them in their lives (in both stories), but so do the two major opposing forces: The Empire and The Rebels in Star Wars, The Borali Alliance and the Vertullians in The Worker Prince. Some characters, like Han and Farien, are indifferent and don’t really hold much credence to the ideologies. They live by their own code of morality, even if they share some of the larger ideology’s values. Other characters honor the ideology for living good lives, serving others, like Luke, the Jedi, Leia, Davi Rhii. Vader, Xalivar and the baddies, however, turn that ideology into a force for evil. Vader playing with the dark side, and Xalivar persecuting anyone who doesn’t share the traditional birthright and ideology of his Boralian people.
5) Rapport/banter. I already mentioned how much this adds to action scenes but it adds to character in general. Good guys banter. It’s part of their rapport. And good guys banter with bad guys as well. Much of this occurs with humor. Humor humanizes the characters, lessens the tension at the right moments, and endears the characters to the audience. It’s fun, too. Banter is difficult to write without dipping into silliness. Star Wars has certainly been accused of it, at times. And I’d imagine The Worker Prince will get a few criticisms, too. But audiences love it. C-3PO and R2D2 aren’t popular for their looks. It’s their heart and personality, so often expressed through banter, which won audiences over. There’s a reason action movies are known for quotable lines. They may be silly but they sure are memorable. The key is to find proper balance and not take it too far one way or the other.
6) Cool gadgets and vehicles. Lightsabers, blasters, landspeeders, X-Wings, Tie Fighters, The Millennium Falcon–these are characters as much as the people in Star Wars. In The Worker Prince, we have blasters, datapads, Skitters, Floaters, air taxis, VS28 fighters and more. All these ships become huge parts of the world and how it operates. And they play essential roles in the characters’ abilities to survive and triumph over adversity. Can you imagine the stories without these things?
7) A Sense Of Wonder And Discovery. It’s no accident that Star Wars: A New Hope is a coming of age tale. It’s about Luke’s self-discovery and we discover it along with him: his world, his abilities, his future, etc. Davi Rhii takes a similar journey in The Worker Prince. Both approach the world, as young people often do, with wonder and curiosity that’s contageous. And they also share a drive to discover how to make the world better and how to be better men. The second stories, Empire Strikes Back and The Returning, change focus a bit. In Empire, it’s more of Han and Leia’s story. Their relationship, their beliefs, are central in focus as they are chased around the galaxy by the Empire and threatened time and again, fighting side by side for their lives. Luke’s still present and discovering who he is, but his journey is a bit more thoughtful this time around and less adrenaline packed at times. In The Returning, Davi, Yao and Farien find their lives on the line from very early on until the very end. They are involved in most of the book’s huge action scenes and there’s almost one per chapter, some many pages long. Davi is being chased by those who want to kill him, and, at the same time, he and his friends are chasing answers to who’s killing Vertullians and who’s threatening the peace. At the same time, Davi is discovering how to be a good mate to Tela and he and Tela are both rediscovering relationships with their long lost fathers. Aron’s new role on the Council as the first Vertullian to serve in leadership brings many challenges of discovery, and so does Miri’s adjustment from royalty to civilian life. In Return Of The Jedi, Luke’s quest comes center stage again as he tries to discover the truth about Vader’s claim to be his father and what that means. He also struggles to confront Vader and the Empire and end the chase once and for all. Leia and Han’s relationship continues to develop and the Rebels continue fighting the Empire, but the focus is still different from Empire. I am still writing The Exodus, my third book, so I’m not sure how it all will wind up, but this story has chase elements and also people stepping up, like Luke, for final confrontations, including Davi and Xalivar, Davi and Bordox, and Tarkanius taking charge in his leadership role. Throughout, the discoveries impact the characters with a profound sense of change and continued wonder at the bigness of their worlds.
8 ) Emphasis on Character and plot, not science. Both Star Wars and The Worker Prince are space opera and space fantasy. They have elements of science, but the science is not hard science and often wouldn’t hold up to scientific law. In both cases, there are some elements of true science, perhaps, but mostly the tales are driven by the characters and the plot, not the science. The characters and their journeys are the heart and what draws us in and makes us care; what entertains us and captures us. There’s never a sense of some infodump teaching science nor is there a sense of it teaching philosophy or religion. The ideologies are present as part of the world, but they are not for our indoctrination but for our understanding of what drives the characters and frames their understandings of the world.
For me, these 8 elements are at the core of why stories like Star Wars have the feel they do. Reading The Worker Prince, even if you notice the feel, they’re still very different. I do pay tribute to the former’s influence, of course, but the story is original and stands on its own. And I think anyone trying to capture a similar feel would do well to keep these elements in mind. Yes, they can be traced back to old fashioned pulp stories, in many cases. What do you think? Did I miss anything? I’d love to hear comments.
For what it’s worth…
Bryan Thomas Schmidt is the author of the space opera novel The Worker Prince, a Barnes & Noble Book Clubs Year’s Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012 along with his book 102 More Hilarious Dinosaur Jokes For Kids from Delabarre Publishing and the anthology Space Battles: Full Throttle Space Tales #6 which he edited for Flying Pen Press, headlined by Mike Resnick. As a freelance editor, he’s edited a novel for author Ellen C. Maze (Rabbit: Legacy), a historical book for Leon C. Metz (The Shooters, John Wesley Hardin, The Border), and is now editing Decipher Inc’s WARS tie-in books for Grail Quest Books. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog. Bryan is an affiliate member of the SFWA.
Well, a long while ago I placed my first comedic noir Science Fiction story in an anthology edited by my friend Jaleta Clegg. The table of contents has finally been announced and publication is this Spring from Hall Brothers Entertainment. So here’s the official scoop:
Wandering Weeds: Tales of Rabid Vegetation
Edited by Jaleta Clegg & Frances Pauli
Table Of Contents Beyond the Fence, Rebecca L. Brown
Colors of Blood, Kevin J. Childs
They Call The Wind Mariah, Jaleta Clegg
Duncan Derring and the Call of the Lady Luck, Bryan Thomas Schmidt
Legends of the Tumbleweeds, Duane Ackerson
Cowchip Charlie and the Tumbleweed Gang, C. H. Lindsay
The Tumbas, M. Pax
Thistle, Terry Alexander
Of Weeds and Wizardry, Berin Stephens
Feral Tumbleweeds, Mo Castles
Earth’s New Masters, Adriane Ceallaigh
Misplaced, Voss Foster
Oh, Dark Tumbleweed, Brian D Mazur
Crispy Fried Pickles at the Mad Scientist Cafe, Katherine Sanger
I Survived the Sargasso Sea, Eric J. Guignard
The Great Tragedy of the Illustrious Empire, Audrey Schaefer
Garden of Legion, David J. West
Tumbleweed, Robert Borski
The Souls of the Wicked, Francis Pauli
Fair Weather, with a Chance of Tumbleweeds, Andrea Tantillo
The Tumbleweed Woman, V. Hynes Johnston
Guardening, Ann Willows
Weeds, James Hartley
Sleeping Beauty, Louise Maskill
Desert Oracles, Katie M John
Bryan Thomas Schmidt is the author of the space opera novelThe Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012 along with the anthology Space Battles: Full Throttle Space Tales #6 which he edited for Flying Pen Press, headlined by Mike Rensick. As a freelance editor, he’s edited a novel for author Ellen C. Maze (Rabbit: Legacy), a historical book for Leon C. Metz (The Shooters, John Wesley Hardin, The Border), and is now editing Decipher Inc’s WARS tie-in books for Grail Quest Books. He’s also the host of Science Fiction and Fantasy Writer’s Chat every Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog. Bryan is an affiliate member of the SFWA.
Star Wars/Forgotten Realms author Paul S. Kemp has this to say about my next novel The Returning: “The Returning blends themes of faith with classic space opera tropes and the result is a page-turning story that takes off like a rocket.”
Here’s more info, including the previous blurb, and I expect a cover image in the next two weeks:
“The Returning has romance, assassins, tension, both modern and classic science fiction notions, and very smooth writing. What more could you want? Bryan Thomas Schmidt keeps improving. As good as The Worker Prince was, The Returning is better.” – Mike Resnick
“A fun space opera romp, complete w/ intrigues, treachery, dastardly villains, and flawed but moral heroes.” Howard Andrew Jones (Pathfinder: Plague Of Shadows, The Desert Of Souls) on THE RETURNING
Sequel to The Worker Prince, The Returning is forthcoming this June. Book 2 in the Saga Of Davi Rhii, the back cover copy reads as follows:
The Vertullians are free and have full citizenship but that doesn’t mean they’re accepted. Now someone is sending assassins to kill and terrorize them and it’s riling up old enmity all over again. The new High Lord Councilor, Tarkanius, Lord Aron, and Captain Davi Rhii find themselves fighting all over again to preserve the unity of the Borali Alliance, while forces from within and without work against them in an attempt to tear it apart.
Meanwhile, Davi and Tela are struggling to keep their romance alive in the midst of busy lives filled with drama and stress and Miri’s adjusting to her new status as a non-royal. The action packed, emotional, exciting Davi Rhii story continues.
Although it’s not out until June, you can preorder The Returning today for $10.11 at Barnes & Noble (31% off the cover price).
I read a lot of books for my author interviews on SFFWRTCHT and blogs like GraspingForTheWind.com, www.SFSignal.com, and Ray Gun Revival, as well as my own blog. In fact, reading for those dominates my reading time. I rarely squeeze in books for fun or learning anymore. Most of the time, I’m excited to read the books because I love discovering new authors and for years I didn’t read speculative fiction at all, so I am way behind in my genre knowledge. But every once in a while you come across one that makes you think “I probably won’t enjoy this” for various reasons. Isn’t it wonderful to instead discover you adore them? Here’s Eleven series I had that initial reaction to which are now among my favorites:
1) The Majipoor Books by Robert Silverberg–WHAT?! You say? Well, I’d never heard of Robert Silverberg when my twin sister gave me Lord Valentine’s Castle for Christmas at age 15. It was not a book on my Christmas list, and, frankly, I was annoyed that she would dare deviate from my carefully prepared list. The cover intrigued me though with its aliens juggling and such. And boy, this book knocked my socks off. Other than The Hobbit (I had yet to read Lord Of The Rings), this book had the most amazing world building I had ever seen. It absolutely knocked me out. And I adored it. I snagged Majipoor Chronicles as soon as that came out, and the alien sex scenes certainly stimulated my young teenage boy mind (HEY! I’m only human people!) It took years for me to get the rest and read them, but I finally did and reread the first two as well. My favorite novel series of all time, hands down. Amazing characters, amazing world building, masterful storytelling in every sense. True classics. Not to be missed. His second series surrounding Presimion is maybe even better than the first, but Lord Valentine’s Castle remains my favorite. They are all getting released starting this month by ACE/ROC Books, too.
2) Black Blade Blues by John A. Pitts–An urban fantasy with dragons and a Lesbian heroine with romance. Dragons are overdone. They’ve been done a million times. And I’m straight, not gay. To each his or her own, but when I do read romance, I just prefer male on female. Also, this just sounded like a teen set, girly appeal book to me. Not because John himself is all that girly. He’s really not. In fact, he’s become a good friend. But this was one I expected to not enjoy and instead turned out to be one of my favorite series ever. Pitts writes really good characters and action. He also does some unique POV things, with all Sarah Buehall’s chapters in 1st person, and 3rd person for the supporting POV characters. He takes old tropes like dragons and the blacksmith and breathes new life into them. He also takes modern SCA reenactors and throws them into their living fantasy and mines it for humor skillfully. Just a delight in every way and should not be missed. SERIOUSLY. Straight guys too!
3) Greywalker by Kat Richardson–I read this after meeting Kat at Rainforest Writers. She was delightful. But urban fantasy had never sounded like much of anything I’d enjoy. Instead, I’m hooked. And I have Kat to blame. At first, it sounded too Sixth Sense-like for me. As one of the few people who didn’t care for that movie, this was not a draw. But man, I love this series. I’m hooked. I went out and tracked down copies of every one. I’ve since read another and interviewed her. And it inspired my own idea for an urban fantasy detective noir series I am working on. Love these books. They are even better than you’ve heard.
4) Shadow Ops: Control Point by Myke Cole–Military fantasy? Military anything really. Okay, I like John Ringo. And I am pro-military. But it just sounded odd, although I adore the book cover. I could not have been more wrong. I absolutely got my socks knocked off, and I still can’t find them. Cole is a master at world building and working old tropes inventively into the modern world. He also knows his military and it shows. It’s like an inside view of military life in so many ways, and I think it makes you respect all the more, the sacrifices our troops make in serving our country. Sure to make you patriotic in a good way but also challenges the idea that obeying orders strictly is an ideal rule of thumb. Cole infuses his characters with humanity, even the goblins, yes, and makes you care about them and root for them. Really fun and exciting possibilities with this one. And women, you’ll love it just as much. He writes good, strong females as well. I can’t wait to read the rest. And I am telling you, this one is for everyone!
5) The Parasol Protectorate by Gail Carriger–Okay, parasol in the title. Pretty much said it all. Romance. Also, vampires and werewolfs AGAIN?????!!! Not my favorite. No one can top Anne Rice in the vampires, if you ask me, although Charlaine Harris is giving her a run for the money at the moment. I read it because Carriger is a leading steampunk author, a genre I love. And I’d heard good things. I am in love with this series, too. Went out and tracked them all down. Carriger is hilarious and she uses old tropes in new ways while making absolutely fantastic use (and fun) of her Victorian setting. She even gets the Old Queen herself involved. Yes, there’s romance, but not in a sappy, smarmy way. (Well, not too much.) Her lead character is not one of those sappy females with dreamy eyed looks and emotions at all. She’s a bit rougher around the edges, and, as such, a bit of an outcast. She also has gifts which set her apart. I won’t spoil it for you. But I adored the first book and can
6) The First Chronicles Of Thomas Covenant by Stephen R. Donaldson–I picked these up because the Darrell Sweet covers were so intriguing and I wanted something fantasy to read. I had been reading a lot of science fiction but not as much fantasy. Then the main character was not so nice and he raped a young girl. I almost put it down right then. So glad I didn’t. The redemption journey of Thomas Covenant is so worth the effort and Donaldson is so masterful a writer. I am thrilled to have met him and had him sign my copy a couple of years ago. And we have an interview coming up for SFFWRTCHT with him where I focused on this series. He’s got two trilogies and a 4 book final cycle in this universe now, and they are rightly regarded as classics of the genre. Also, the later cycles have a female lead, so if you women are turned off by Covenant’s behavior, you really should still give this a chance. The world building is rich and unique and the journey is one that touches the heart. I promise.
7) The Retrieval Artist series by Kristine Kathryn Rusch–I read these because I had read her first Diving book and several great short stories, but the idea of a noir detective in science fiction didn’t sound like my thing. I have never been a huge mystery reader. I think Rusch changed all that with these books. I adore this series and her mix of genres. She also does some really fantastic world building in here as well. Her use of tropes in new ways, her alien species, etc. are so well thought out, with real cross cultural conflicts and consequences arising from their different world views. Authors don’t always think it through that far or even strive to incorporate it all, and she’s challenged me as a writer to go further as a result. Highly recommended. Kris has become a friend and one of my favorite authors.
8 ) The Ender Series by Orson Scott Card–This one I had hesitancy for silly reasons. I wasn’t reading science fiction at the time and I’d only heard bad things about this author’s strong opinions. But my cousin David and his wife insisted I’d love these. They even gave me their copies, so I felt obligated to give them a chance. After all, David and I have always been close and our mutual love of speculative fiction is one reason. David introduced me to D&D, Star Wars and so many things. He was right. Ender’s Game is called a classic with good reason. No matter what you think of Card’s religion or opinions on politics, he’s masterful at writing and those themes don’t come into it with this series (at least so far). This is really good militarySF and space opera. And not to be missed by genre fans.
9) The Chronicles Of A Distant World series by Mike Resnick–I am now a huge Resnick fan and he’s become a friend and mentor. He even blurbed my forthcoming novel and wrote a story for an anthology I edited. But full disclosure aside, I read this when I really had no idea who this Resnick guy was. I just knew he’d won a lot of awards and was a big shot amongst writers (everyone said). He also had a passion for Africa and so do I. But could a white guy from Ohio really do the African cultures I adored justice? I think he did splendidly, frankly. This series of science fiction inspired by African history and imagining what the future might look like has been a touchstone for me. In fact, the predictions Resnick made came true in some cases. Very unique and not like most other SF you will read but that’s all the more reason you shouldn’t miss it. Masterfully done and really deep world building and cross cultural explanation. No preaching. No judging. He just lays it out there like the expert he is and lets readers to the rest.
10) The Posleen War Series by John Ringo–I am not a big military story reader. I support the military. But reading military books is rare. I love political intrigue like old school Tom Clancy and WEB Griffin, but the idea of war books didn’t appeal. But people kept raving about MilitarySF. And people said John Ringo was a great place to start. Plus I heard an interview with the author that impressed me. A Hymn Before Battle blew me away. I went out and bought the series and can’t wait to tear into the rest. Reading schedule, as mentioned above, has so far prevented me, but they are on the shelf where I can see them and one of these days, soon, I’ll pick them up and tear into them again, and I can’t wait!
11) Pathfinder Tales by various–D&D tie-ins, really? I imagined characters stopping to roll the dice during attacks, and more silliness. I just couldn’t wrap my mind about it. What I never expected to find was good sword & sorcery/fantasy novels, but these are a real find. I have read four so far and enjoyed them thoroughly. This is some great stuff. Don’t let the tie-in stigma scare you off. Editor James L. Sutter is doing some great stuff with some great authors like Howard Andrew Jones and Dave Gross. If you enjoy fantasy and magic, even if you’re not into RPGs, you’ll love this. If you are into RPGs, that’s just a bonus.
Okay, there’s eleven series I loved in spite of initial reservations. I’m sure I’ll discover more, but what about you? Please post yours in comments. I’m sure we’d all love to discover more!’ll be tearing back into this. Military culture is well handled, of course, but the alien invasion and character drama is fascinating too. He really is the Clancy/Griffin of SF writers. His tension and the intrigue level is far more than I’d anticipated. It really keeps you hooked and turning the pages. I really enjoyed these.
Bryan Thomas Schmidt is the author of the space opera novelThe Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012 along with the anthology Space Battles: Full Throttle Space Tales #6 which he edited for Flying Pen Press, headlined by Mike Rensick. As a freelance editor, he’s edited a novel for author Ellen C. Maze (Rabbit: Legacy), a historical book for Leon C. Metz (The Shooters, John Wesley Hardin, The Border), and is now editing Decipher Inc’s WARS tie-in books for Grail Quest Books. He’s also the host of Science Fiction and Fantasy Writer’s Chat every Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog. Bryan is an affiliate member of the SFWA.
Recently I came across a situation that reminded me how important transitions and seeding story details are to good fiction. These are things which most pros do without even thinking about it, but up and coming writers, learning craft, probably have to be more deliberate about. I will not specify where I encountered this but will give examples and suggestions how to handle this better. By transitions, in this case, I am talking not about segways between scenes, but rather, transitions in introducing new world elements so that we accept them as organic. And by seeding, I mean subtly introducing these things early enough so that when they become key to the story we have no trouble believing they belong there. (These are the best terms I can come up with to describe it, so that’s what we’re going with.)
You can put anything you want in your world but it has to fit together in a way that feels organic for the reader. Thus, you must carefully consider what you introduce, how you do it and when you do it. Foreshadowing it, planting seeds early and transitioning properly are essential.
In the case at hand, the story is a mixed genre story with both epic fantasy and science fiction elements. For the first six chapters, though, it’s all epic fantasy, clear and plain. Then, all of a sudden, these important characters from afar are said to have a space ship. Later, the protagonist is on the space ship and they pass a planet and he has a revelation that the planet has elves.
My reader’s reaction was a laugh and a “WHAT?!!” Which is NOT the reaction you want, believe me. It threw me out of the story and made me question the plausibility. Why are there elves and space ships? Just because the author likes them or is it organic to the world? The way it’s written, they don’t feel organic but as it turns out, the elves and the space travel are vital parts of the later story and world. They can’t be cut and they definitely are not thrown in there just to have tropes the author likes. There are good reasons. So the issue here is they are not handled appropriately. So I made some suggestions and I’ll share them with you.
Early on, the protagonist explores cities and the world. If the protagonist saw sky highways with space ships or flying cars of some kind, we’d know subtly that this is not your typical fantasy world and to expect space travel and SFnal elements. Another possibility is to have laser guns mixed with the swords. Just a subtle mention of either would have laid groundwork to make the later space ship reveal much more plausible.
BUT the author has set up a world where one group hogs all the fuel and space travel is thus not available to everyone. So the world where the story starts has no space travel. How can one reveal it as not sudden then?
One way is to have foreigners come by space ship as merchants to trade. Another might be to have disabled ships grounded with no fuel and comment on the situation when they appear.
If you, as an author, box yourself into a situation where elements necessary to your world are so limited, you still have to do the work to find a way to introduce them as possibilities so you don’t lose plausibility or chase off readers. Inventing such restrictions does make it hard for yourself but that doesn’t excuse you from doing the work to make it believable.
The same is true of the elves. If he encountered elven merchants, traders or vendors in the market on his wanderings, it would be no surprise when they turn up later on a neighboring planet. No dialogue or interaction would have to occur, it could all be descriptive passages as the protagonist observes the world.
In this case, however, there are no elves on that planet and he would not encounter them because they are alienated. So such a set up would also be inorganic to the world. So how to handle it?
One way is to have references to elves earlier. There could be problems that people comment on: “If the elves weren’t banished, this would totally seem like their handiwork” Or “Those nasty elves, always making trouble” or “This looks like the kind of trouble we’d expect from elves, not our own people.”
Another is to have the elves just appear as the protagonist encounters them and have him ask all the questions we as readers would ask. Our discovering them along with him would make it far more plausible.
In this case, since he’s traveling with others, they could tell him “we’re doing to see the elves” and have a dialogue about those questions before hand.
Whichever way is chosen, it would lay groundwork so it’s not like elves just appear out of nowhere and make us shake our heads as to why they are there. World building is hard. It takes attention to detail even beyond what you need for the story. You may not need to describe certain aspects but you need to know them because they affect other things. Food chain affects diet, even if you never have to describe it. Geography affects diet and availability of resources, etc. And those elements you do include must but introduced well so that they seem natural and not unexpected. In both the above cases, I was thrown out of story with “why are there suddenly space ships/elves” and “why didn’t we see them earlier.” In this case, the writer has a strong vision, but she’s still learning this aspect of craft, so my job as editor is to point that out and suggest ways to resolved the issues. As I explained, the author had good reasons for this, but we are not going to stick around and find out what they are if we are not sold on them. Because if we think the author doesn’t have a plan, we lose confidence and our interest wanes. Unless we have a compelling reason to read on (it’s a friend or family member), you may well lose us as readers.
So transitions and seeding are vital skills to learn and use as writers. What are some similar issues you’ve observed in reading/workshopping stories? How did you resolve them? Please share in comments so we can all learn.
For what it’s worth…
Bryan Thomas Schmidt is the author of the space opera novelThe Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog. Bryan is an affiliate member of the SFWA.
Just in from my friend/mentor and one of my favorite authors, a blurb for my second novel: “THE RETURNING has romance, assassins, tension, both modern and classic science fiction notions, and very smooth writing. What more could you want? Bryan Thomas Schmidt keeps improving. As good as THE WORKER PRINCE WAS, THE RETURNING is better.” – Mike Resnick
Sequel to The Worker Prince, The Returning is forthcoming this June. Book 2 in the Saga Of Davi Rhii, the back cover copy reads as follows:
The Vertullians are free and have full citizenship but that doesn’t mean they’re accepted. Now someone is sending assassins to kill and terrorize them and it’s riling up old enmity all over again. The new High Lord Councilor, Tarkanius, Lord Aron, and Captain Davi Rhii find themselves fighting all over again to preserve the unity of the Borali Alliance, while forces from within and without work against them in an attempt to tear it apart.
Meanwhile, Davi and Tela are struggling to keep their romance alive in the midst of busy lives filled with drama and stress and Miri’s adjusting to her new status as a non-royal. The action packed, emotional, exciting Davi Rhii story continues.
Although it’s not out until June, you can preorder The Returning today for $10.11 at Barnes & Noble (30% off the cover price).
Well, I know my writers have been patiently but yet anxiously waiting for an announcement, so here it is. These are the stories accepted for the anthology SPACE BATTLES: Full Throttle Space Tales #6, in a series from Flying Penn Press. Releasing around April 18, edited by myself and headlined by Mike Resnick and Jean Johnson, this anthology is original stories (non-reprints) of space opera and military scifi focused all of which have space battles as pivotal to their plot. We are still playing with the story order so that may change but the content itself is final. Congrats and thank you to all the writers!
Between The Rocks by Anna Paradox The Thirteens by Gene Mederos Like So Much Refuse by Simon C. Larter Jump Point Blockade by David Lee Summers (Other stories in this series appear in other Full Throttle Space Tales anthologies) First Contact by Patrick Hester (first sale) Isis by Dana Bell Book of Enoch by Matt Cook (first anthology sale) Joystick War by Jean Johnson (A Theirs Not To Reason Why series story; her first novel in this series is up for a Philip K. Dick Award this year) Never Look Back by Grace Bridges The Gammi Experiment by Sarah Hendrix (first SF story sale) Space Battle Of The Bands by C.J. Henderson (C.J. continues his popular Full Throttle Space Tales story series) A Battle For Parantwer by Anthony R. Cardno (first SF story sale) With All Due Respect by Johne Cook Final Defense by Selene O’Rourke (first sale) Bait and Switch by Jaleta Clegg The Hand Of God by Bryan Thomas Schmidt (A Saga Of Davi Rhii Sequel set 20 years after the events of my novel series) Guard Dog by Mike Resnick and Brad R. Torgersen (Not a reprint but an original written specifically for this anthology; saved for last because of the powerful resonance of its ending)
Also, got the Honda looking cooler these days with the new tag. A publicist suggested it and I remembered my experiences as a singer with my customized plate. People asked me lots of questions when they saw it, so I thought $50 for 5 years is pretty cheap advertising. Since I always have a case of books in the back, why not? If this helps draw interest or sell a few, it’s totally worth it. It also is fun, to me, to be the only one in Kansas with SF AUTHR as his tag. There’s gotta be others out there, sure, but I got there first. Happens so rarely for me, it feels like a win. So why not?
So those of you around the Midwest, if you see a Blue Honda Civic with this tag, come find me and say hi. I’ll be at Cons and around other places. I’d love to see you.
Well, it’s Theodore Geisel’s birthday again and with the movie release pending for The Lorax, it has me thinking once again about my childhood. Seuss’ The Cat In The Hat is one of the first books I ever remembering owning. I got it for my birthday as a young child. (I can’t remember which one my twin sister, Lara, got). I read that book ’til the cover fell off, over and over. I loved Seuss’ magic with words.
“The sun did not shine, it was too wet to play,” possibly the most well known opening line in twentieth century children’s publishing. Who could forget those words and what child couldn’t grasp the emotion behind them? Many a child had their days ruined by weather. No sand castle? No playing outside? No swingset? No bike? Sigh.
But as much as I loved The Cat In The Hat, I still remember The Lorax as my favorite. What I loved about The Lorax was the mystery of the hand reaching from that perilous tower, and the young boy wanting to know more, as so many young boys do, who gets a tale of a lifetime. I was one of those kids: frustrating adults with all my questions. In many ways, I still tend to be. I’m always questioning “What if?” “Why?” etc. That’s probably why I went into writing science fiction and fantasy.
But for me, The Lorax‘s message was so important. Despite being raised Conservative in a Christian and Republican home, the environment was something I always had a special relationship with. The Earth and nature resonate with me in a unique way. They inspire me, move me, touch me, and fill me with emotions at the experience of their beauty, aliveness, scents, smells, etc. I grew up in the farmlands of Kansas, far from the logging country of the Pacific Northwest, where that industry is such a part of the culture and economy that it’s iconic. I don’t think I saw my first logging truck into my teens or twenties. And it was on a trip somewhere, not around Salina where we lived. But one of my favorite singers, John Denver, sung a lot out the environment and I always found myself wondering why humans are so careless with the planet and land God gave us to live on. For me, it’s a no brainer. We need the Earth, the Earth doesn’t need us. We need the planets and animals and other ingredients in our food chain. We need the various products which give us quality of life. While they might not forage well, the cows and sheep and pigs probably wouldn’t mind if the slaughter houses shut down. And they probably wouldn’t get emotionally distraught at the disappearance of their farmer-owners. Just saying.
Seuss’ The Lorax taught a great lesson about how much our drive for more and more, whether it’s money or wood or anything else, leads humanity down dark and troublesome paths, with end results we should carefully consider. It taught lessons about respect for nature and the appreciation of the unknown. It reenforced my dad’s lessons about not being wasteful and about making full use of things as much as possible. From water to food, we were conservation minded at home. My dad installed Naval shower heads to cut our water waste from long showers. So much so that it was a huge adjustment switching back to regular shower heads when I moved out on my own. He taught us to turn the water off after we got wet, apply soap and shampoo, then turn it on to rinse, then get out of the shower. No dilly dallying or long shower concerts for me, his wannabe rock star son. That stuff had to occur elsewhere. He taught us about composting everything from orange rinds to grass clippings, using toilet paper conservatively, and minimizing trash. To this day, my parents are lucky to fill a 15 gallon bag of trash in two months at their house. I have several trashcans, with specific ones devoted to aluminum, milk cartoons, hardboard, etc. And I make an extra run to the recycling center monthly, since the city offers no street pick up.
The Lorax reenforced these lessons and did it in a non-preachy, fun way. Like so much of Dr. Seuss’ work, it was simple, with basic vocabulary and stunning rhyme, yet at its heart lay an important lesson for us all. It saddens me a bit to see the Hollywoodization of The Lorax now which seems to contrary to the message. I haven’t even seen the movie yet but there are wasteful tie-ins of paper, plastic, etc. everywhere. How many of those will wind up enlarging our nation’s landfills or landfills around the world? Is that really what Dr. Seuss would have wanted? I doubt it.
But The Lorax is still in print and so we can do our part. We can buy the book for a child we know, and help them get a start. We can teach them of its wonders, of the lessons that it holds, and watch their eyes light up with magic at the beauty of its prose. We can share it with a stranger or a neighbor or a friend. We can share it with our grandkids or our children once again. For me, it’s really simple, and a thing I mustn’t dodge. For the lessons of The Lorax still are needed quite a lot.
Ok, I’m no Dr. Seuss, but I hope you get my point. For what it’s worth…
Happy Birthday, Dr. Seuss. May we honor you well. And thank you!
Well, I got my first publishing related mention in Locus. Sometime last year I was listed in a photo caption for Rainforest Writer’s Village despite not actually being there for the picture (so that doesn’t count). The announcement of the sale of my second novel showed up yesterday with mention of my editor, Randy Streu, and some other cool people like my friend D.W. Grintalis, who sold her debut novel, Mike Resnick, who’s sold too many to count, etc. It’s a good feeling, because Locus is the industry zine (for those who don’t know) and it makes me feel more officially a part of things. It’s like a step on the ladder.
Another rung occurred when I sent review copies to Library Journal, Kirkus, Locus and Publisher’s Weekly. Didn’t get that done for The Worker Prince, to my regret. But good reviews from those would really boost credibility and sales, so here’s hoping they feel as good about book 2 as I and Randy do. I did send The Worker Prince along to Locus, since they don’t rule out reviewing books which have been out for a while. We’ll see. More waiting begins.
It’s been done. All too many times, if you listen to some. The story is world famous, well known. Many know its details by heart. Yet it’s compelling and you have an idea you know is different—one no one’s done before. So how do you keep it fresh? Adapting a well-known story for fiction has many challenges, but above them all is the issue of freshness, avoiding predictability.
Bryan Thomas Schmidt is the author of the space opera novels The Worker Prince—which received Honorable Mention on Barnes & Noble Book Club’s Best Science Fiction Releases of 2011—and The Returning, both from the space opera series Saga Of Davi Rhii. He also wrote the collection The North Star Serial, and short stories published in Tales Of The Talisman and the anthologies Of Fur And Fire and Wandering Weeds: Tales Of Rabid Vegetation, amongst others. A freelance professional editor and proofreader, he’s edited books for authors like Leon C. Metz, David Brown and Ellen C. Maze. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9:00 p.m. Eastern Time on Twitter (#sffwrtcht), where he interviews people like Mike Resnick, A.C. Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. He can be found online as @BryanThomasS on Twitter or via his website: www.bryanthomasschmidt.net. Excerpts from The Worker Prince can be found on his blog.
