Post by account_disabled on Nov 25, 2023 11:57:57 GMT 5.5
Said it here and elsewhere: I had read and written little in general and very little fantasy in particular. What should a writer who wants to write fantasy do? Where should it start? To answer these questions I still rely on what emerged from the interview, because they are points with which I totally agree. Mastery of narrative techniques Put yourself in the shoes of someone approaching fantasy for the first time: the reader will find themselves catapulted into a world totally different from the one they are used to, that is, the real world, even if they have read stories set in the past. Let's leave aside the question of suspension of disbelief, which in my opinion is just an excuse to write badly, to make up for one's shortcomings. The reader must firmly believe in what he reads and to do so he must not stipulate any pact with the writer, but find elements that place him in the imaginary world of the story.
The construction of the world must be taken care of in detail, without leaving anything out. We're writing about a world we invented, so we have to create it from scratch. Resources Science and Technology , Society, Politics and Religion and Customs and Folklore : from my series of posts on fantasy settings The writer, creator of worlds by Grazia Gironella Every time we write a fantasy story, we must ideally address that reader, the reader who reads fantasy for the first time. Knowledge of the Middle Ages and myths One of the most valid meanings we can give to Phone Number Data the word originality is a return to the origins, to the first myths and ancient legends. Documentation and cultural training are fundamental for a writer and anyone who wants to write fantasy cannot fail to know these issues. Epic fantasy, swashbuckling fantasy, sword & sorcery have references to the Middle Ages. As one of the editors interviewed rightly said, the Middle Ages should be known for what they really were, which is very different from the pseudo-Middle Ages that we are used to finding in some novels.
Knowledge of this chapter of human history can give us original and even innovative ideas for some stories. Myths and legends, then, hide an immense and fascinating world. When I read The Wild Ride and Zeferina by Riccardo Coltri, I discovered this world, or rather a part of it. Coltri is a writer who drew on the ancient myths of our country, on forgotten legends, to write stories that don't even remotely resemble classic fantasies. For the first time I read Italian names, I found magical and haunted worlds in my country, I felt a different and tastier flavour, because it was new, unexpected and rich, too. The elements for a winning fantasy What are the elements to use today to write a good fantasy, a fantasy that deviates from the usual, from the overused, from the already seen? I have talked about some of them other times and I like having found them in the responses of the various editors. Some are even too obvious, given that many people talk about them, not only publishers, but also readers. Abandon patterns and clichés I have written extensively about clichés in this blog. They're fed up.
The construction of the world must be taken care of in detail, without leaving anything out. We're writing about a world we invented, so we have to create it from scratch. Resources Science and Technology , Society, Politics and Religion and Customs and Folklore : from my series of posts on fantasy settings The writer, creator of worlds by Grazia Gironella Every time we write a fantasy story, we must ideally address that reader, the reader who reads fantasy for the first time. Knowledge of the Middle Ages and myths One of the most valid meanings we can give to Phone Number Data the word originality is a return to the origins, to the first myths and ancient legends. Documentation and cultural training are fundamental for a writer and anyone who wants to write fantasy cannot fail to know these issues. Epic fantasy, swashbuckling fantasy, sword & sorcery have references to the Middle Ages. As one of the editors interviewed rightly said, the Middle Ages should be known for what they really were, which is very different from the pseudo-Middle Ages that we are used to finding in some novels.
Knowledge of this chapter of human history can give us original and even innovative ideas for some stories. Myths and legends, then, hide an immense and fascinating world. When I read The Wild Ride and Zeferina by Riccardo Coltri, I discovered this world, or rather a part of it. Coltri is a writer who drew on the ancient myths of our country, on forgotten legends, to write stories that don't even remotely resemble classic fantasies. For the first time I read Italian names, I found magical and haunted worlds in my country, I felt a different and tastier flavour, because it was new, unexpected and rich, too. The elements for a winning fantasy What are the elements to use today to write a good fantasy, a fantasy that deviates from the usual, from the overused, from the already seen? I have talked about some of them other times and I like having found them in the responses of the various editors. Some are even too obvious, given that many people talk about them, not only publishers, but also readers. Abandon patterns and clichés I have written extensively about clichés in this blog. They're fed up.