Did the title work? Maybe not, which is one of the challenges with analogies. They’re like jokes in that they depend on the audience and don’t always hit their mark. You can share an analogy that has one person nodding in agreement and another scratching their head in confusion. Why is that?
Well, the big thing is that analogies require pre-existing knowledge. I remember one from the animated X-Men that was ‘Nervous as a long-tailed cat in a room full of rocking chairs’, which I’ve been told is a Southern expression. Pretty simple to understand as long as you know what a cat and a rocking chair are. You also need to know how painful that experience would be. If you’re missing any of those elements, you’re going to have to explain what you meant. Again, this is like a joke where it loses its impact if you have to explain it.
I’ve noticed that I use analogies a lot. People may have picked up on that in comments over the years. By analyzing myself, I tend to use an analogy for one of two reasons:
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Spiders . . . I’m really uncomfortable around spiders.
This is probably why I toss them in as scary swarming monsters. They’re always big and give the heroes trouble. The thing is that a giant spider gets boring even if you change up the species. Webbing, poison, fangs, stabby legs, jumping, and those creepy eyes can only get you so far. Sometimes, an author needs to take the icky monsters and make them a whole lot worse.
Well, Windemere has a bunch of monstrous spider species and I haven’t even started with those. In fact, I’ve only done two types from what I remember, but I have others planned. Here’s the list:
- Horned– Giant spiders that live in mountains. They have horns, which are very long and pointy. Some varieties will be able to fire them, but they will not regenerate immediately.
- Winged– A rare species found in heavy magic areas. They don’t create webs because they are always flying around. Their webbing is used to snag prey and build protective egg sacks.
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I like to included humor in my stories. Yet, I don’t want them to be seen as comedies. I like to touch on heavy topics in my stories. Yet, I don’t want them to be seen as serious dramas. That means I need to have both and keep things balanced. That isn’t nearly as easy as some people believe. You can’t throw the two around whenever you feel like it in the hopes of creating an equilibrium. Humor and heavy can clash like battling titans instead of uniting like pieces of a puzzle. So, what are some ways to handle this?
- Whichever one is going to be the main tone of the story should be introduced from the beginning. If you want to have a serious story with humorous sections and conversations then you need to set the heavy stage. If it’s supposed to be a comedic tale that moves into serious territory then start with the funny. You do have a runway to work with since the opening is more character and world introduction, so the tone may be neutral first. Eventually, you need to decide on who gets the bigger slice of pizza.
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Charles Yallowitz, owner of ‘The Legends of Windemere’ blog, informs us about ‘The Binge-Worthy Book Festival. Thank you, Charles!
As I mentioned on my Saturday post, N.N. Light is hosting a Binge-Worthy Book Festival through the month of August. Every weekday will have a new set of authors. Legends of Windemere: Beginning of a Hero is on for today alongside others of various genres. It’s a great selection, so I recommend checking it every day. There are contests you can enter as well.
Charles Yallowitz, over at ‘Legends of Windemere’ published a blog post about cliffhangers in a series. Thank you very much for your great post, Charles.
This came up in conversation and I thought about while coming to the end of War of Nytefall: Eradication. When writing a series, you tend to have 3 types of books.
- The opener, which introduces at least some characters, begins world building, and may hint at the main plot.
- The finale, which closes up all or most of the plot lines.
- Everything in the middle, which I tend to call ‘Bridge Books’. They have their own internal adventure while carrying what was established in the previous books into the next one. You don’t always bring all of the subplots and characters through a bridge book, but you do enough that the main plot can continue.
On ‘The Legends of Windermere’ blog, written by Charles Yallowitz, I found this excellent blog post about bad boys and how they really are used. Thanks for the great post, which I think to me is quite helpful, Charles.
A while back, somebody suggested I write a few posts on the ‘Bad Boy’ concept. I agreed thinking it shouldn’t be too hard. Now, I’m sitting here trying to figure out what I was thinking. Seriously, this feels like it’s outside of my ballpark because ‘Bad Boy’s in my mind don’t really appear outside of romances and dramas. Then again, I’m using a very narrow definition. Let me try to enhance it by some stream of consciousness writing.
Thank you very much, Charles Yallowitz, for providing us with great tips on writing fantasy. I personally found your post phenomenal and I’m sure not the only one.
One power that I use a lot in War of Nytefall is the regenerative powers of the Dawn Fangs. They can heal quickly and keep fighting as long as their head and enough limbs are attached. That second part is debatable for some characters too. Parts can be reattached if pressed to the wounds as well. It means that their fights can be very bloody, but only because of how I use this power. I consider every usage to make sure it still fits, which makes me realize how healing factors might not be as easy to write about as I thought. It can fall into abuse before you know it. So, what are some things to consider?
Charles Yallowitz of the ‘Legends Of Windermere’ blog provides us with an excellent blog post posing the question if we should know the ending of our book. Thanks a lot, Charles!
I’m pretty sure a lot of people are going to disagree with this sentiment. The path of the pantser if fairly common. Not the way I do things, but I’ve run into many who simply fly into a story to see where it goes. There could be an ending in mind or it could just be a beginning or middle that they have. One thing I can be sure of is that it differs from person to person. Then again, I’m a severe plotter, so I shouldn’t speak as if I understand the other side of the pasture.
While I don’t come up with my endings first, I do like to have them in mind before I start writing. This helps me keep things on track and avoid running the story into a brick wall or minefield. Some would say that the downside is that your writing becomes too linear and dull because you remove the chaos of creation. I can see how you can come to that conclusion, but deciding on the ending doesn’t mean you know how you’re going to get there. Most of my books had the finale planned out, but I only had a general idea of how to get there. That goes for chapter and book endings. Probably why I had the outlines and still had that excitement of not really knowing what will happen.
To read the entire blog post go to:
Should You Know Your Ending?