Thursday, October 12, 2017
Previous: Enemy at Blood River (Part II)
Next: Enemy at Blood River (Part IV)
With Mai and Sana on the battlefield, Hanoba turned the tide of the war. Foot soldiers fell to Mai's forceful thrusts. Cavalry crumbled before Sana's gusts of wind. Enemy generals lost their lives to Hiroshi in the dead of night. What remained of Hanoba's army braved storms of arrows to carve out victory after victory.
Yet however many Rinié invaders Mai and Sana sent to the next world, Hiroshi did not trust them to assault the enemy stronghold at Akagawa.
Mai and Sana relaxed in a hot spring; mere days ago, the town had been under firm Rinié control. The two women basked in the warm waters as steam floated around them.
"What's wrong with the general? Doesn't he want to win?" Mai asked, referring to Hiroshi.
"Remember that we're from Bai-an and we wield magic. He suspects Bai-an's hand in this -- I'm sure of it," Sana answered.
"And he's not sure which side Bai-an is on."
Wednesday, October 11, 2017
It's no secret that actors love playing the villain. Many state that the villain is the most interesting character in the story, so they get to use most of their acting skills in delivering the performance. They're not wrong.
Of the two characters that are load-bearing pillars in narrative construction, the antagonist has to be consistently engaging and interesting while being repellent to all people of good character. If you don't have this in your antagonist, you have a simple deuteragonist instead. (This is not a bad thing; it merely requires that you take the time to reconsider your story's narrative and revise it to fit your goals.)
Put simply, a good antagonist is both charismatic and wrong. He has to be charismatic because he needs to capture the attention of the audience and hold it firmly- that's charisma. He has to be wrong--morally most of all--because otherwise why is the protagonist opposing him? (We'll get into Protagonist-v-Deuteragonist narratives another time; this is "Getting Started" not "Refining Your Craft")
Put a good deal of thought into your antagonist's plan. Most old-school adventure tales where an antagonist is the source of conflict revolves around the protagonist seeking to stop the antagonist from getting what he wants. The reason is that what the antagonist wants is wrong--immoral--somehow.
Go figure out what that is, and the odds of your narrative falling into place goes up dramatically. From that point, it's down to figuring out when and how the protagonist intervenes; that's your inciting incident, most of the time, and if that turns out to not work, then you can walk your story via revision to where that point actually is incrementally.
Then remember that your antagonist needs to be present throughout the story's narrative, literally or by proxy, so that your protagonist has good reason to be the hero in your story. Even when neither Vader nor Palpatine are on the scene, their presence is felt in the Original Trilogy. Even when the protagonist has to deal with secondary villains, that presence is felt. ("We've got deal with this now so we can get back to dealing with the real threat!")
There's plenty more, and more specific, advice on just that sort of thing around. We're not a shy bunch here, so I am certain that those of my friends and allies who already have articles and posts on writing an entertaining and believable antagonist will post the links in the comments below for your benefit. In the meantime, go review your favorite antagonists and see how they work in their stories; you can't go wrong by stealing what works and making it your own.
Tuesday, October 10, 2017
Monday, October 9, 2017
Sunday, October 8, 2017
Saturday, October 7, 2017
Friday, October 6, 2017
WE have discussed, in detail, the essentials of a dramatic plot for a conventional short story (Problem, Crisis, Climax—the whole based on a Theme, and sometimes strengthened with a Motif.) That constitutes, really, a kind of formula.
Beyond that rough formula there can be no adequate recipe for a conventional short story. We may add Complications—relevant, please, always—we may include sub-crises and a love interest, perhaps, but whatever we do we will never arrive at a formula that will cover all printed stones of approximately the same length. Certain formulae there are, and they will hold good each for its own type of story only—and we will touch on them in good time. But at present remember that the plot-embryo Formula I have now several times given, is as far as we can go along the way towards producing a rude formula that will hold good for most conventional stories.
There are no new plots—except from geniuses. (Noel Coward’s Design For Living is a startling example of a new idea—as new as those behind Bitter Sweet and Cavalcade were old. In the two last plays he ran the whole gamut of the emotions by using almost every “ trick " known in Drama.)
Thursday, October 5, 2017
If you're reading this, then chances are good that you're already reading others who are--at the least--sympathetic to we at #PulpRev and what we stand for. Be you an artist, writer, designer, or just another fan it's a good idea to turn your blogroll into a well-curated feed of information that you can readily resort to on a day-to-day basis.
That means finding friendly folks and putting them into the Blogroll. At this point, a lot of those people are working writers and publishers with some bloggers and podcasters mixed in: Razorfist, Brian Niemeier, Jon del Arroz, Declann Finn, Vox Day, John C. Wright, Geek Gab (especially On The Books), Jim Fear, and all of us here (and that's just what I recall off the top of my head).
I only post here once a week. I post every day at my main blog. It's going to be something similar for other contributors here, so even if there's a post here daily--which is a good thing in its own right--you are best served by going to the sites of the people you like most, or find most useful, and throwing them into your Blogroll so that you get notifications as soon as posts come up.
In addition to seeing our newest offerings as soon as they go live, they remind you to look into our archives. Maybe we already hit upon some question or other curiosity of yours, and in our past postings we can satisfy that interest you have. Curious about if you should read that dog-eared copy of The Moon is a Harsh Mistress? One of us, or our friends, has you covered. Want a take on Gundam Unicorn that isn't the usual weeb bullshit? We've got you. Want some interesting opinions on unusual writing prompts? Stick around; it'll come up again soon enough.
And having all of that in your Blogroll, where you--and no one else--decides whom to follow (nevermind why), is the best approach to keeping track of all of these fascinating and interesting people and groups you're now discovering and getting familiar with. It's right there, so make good use of this tool; spend less time aimlessly seeking info from the folks you like, and more time actually enjoying what you like.
Previous: Enemy at Blood River (Part I)
Next: Enemy at Blood River (Part III)
When Mai and Sana finally regained consciousness, they found themselves in a small shinobi village nestled within a mountain range. Since full sunlight only occurred at noontime when the sun shone directly over the mountains, nothing grew here; the village subsisted on small game hunted in the surrounding forests and grasslands, as well as any fruits or vegetables they could forage. Since the village flooded often, every house sat on tall stilts, with wooden stairways leading to each door. A narrow, winding dirt road led into the village, and that path emanated from a cavern in one of the mountains. The enemy forces would have a difficult time locating where these shinobi lived.
The leader of the shinobi, who went by the name Hiroshi, set Mai and Sana to work after they awakened. The two young women had to exchange their fancy dando for simple brown kimono not only to keep Mai from betraying the village with her incredible strength, but also to show the women that they held no special favor.
Wednesday, October 4, 2017
Ladies and Gentlemen, allow me to introduce Kobold Knight.
I actually can't find a photograph of him. He was a prolific pulp author, as they all were when they wanted to make a living at it, publishing in Windsor, Argosy, Story Teller, Pearson’s, Royal, Red, 20-Story, Chambers’s Journal, Cassell's Magazine, New, Corner, Hutchinson’s, Nash’s Pall Mall, and many more, and he was experienced with the system and how it worked. He published A Guide To Fiction-Writing in 1937, and it's both a picture of a lost era and a practical guide to writing stories.
Tuesday, October 3, 2017
Monday, October 2, 2017
Neither does Cursed City. Book one of Massa's Shadow Detective series, this book packed in the fun. It's pulp as hell, and I mean that in the best possible way. Mike Raven, the hero, provides a welcome breath of masculinity in an estrogen dominated genre. Furthermore, he lives up to the primary duty of a protagonist: he's interesting.
The writing is simple and straightforward. At first, that worried me. But a few chapters in it became clear that the simple writing is intentional, in the tradition of the old school pulp writers. This kind of deliberate simple writing is actually a challenge to accomplish, and it makes the book very accessible. And if I hadn't already overcome that objection, the twists in the final act more than compensated.
A quick, thrilling read, this book started in the middle of the action and only paused for a few breaths along the way. I give it four stars out of five, and I look forward to finishing the rest of the series. I highly recommend it to fans of male led urban fantasy. It's available right now on Amazon for only $0.99, or you can pick it up for free on Kindle Unlimited like I did.
[Cross posted on my own blog.]