As I said a few posts ago, I finally got the push I needed to start updating this site when I agreed to be on the Blasters & Blades show and podcast. The episode was a fireside chat on maps, but as you might expect with seven nerds chatting about things it tangetted a few times. I’m not even the least bit sorry, because it was fun.
Here’s the link to the audio on Spotify, or you can watch the video below for the extra map visuals (and have a better idea of who’s talking).
Episode 243: Fireside Chats: It’s All About Them Maps
Maps a a great bonus to have in fiction, but they should always be a bonus and not strictly necessary to understand the story. You don’t want to depend on readers flipping to the map whenever they get confused; actually, you don’t want them to get confused, period. Instead, you want them to flip to the map when they’re so interested in the story that they want the extra visual. When The Fellowship of the Ring mentions Mordor, the reader should ideally know approximately where it is already before seeing the map, and the map itself should be clarification rather than a primary source.
A simple map is good, like the extremely bare-bones map used for much of the Honor Harrington series by David Weber; it gives the minimum information you need and moves on from there without distracting you. Complex maps like in Tolkien’s Middle Earth setting aren’t complex because of geography, though, as most of the complexity is due to the art itself. That art isn’t there for its own sake, but rather to give the feeling of an expansive world with interesting terrain, full of amazing stories that happen just out of sight of the characters you’re actually following. Both styles help immersion in different ways: one by not getting in the way of your imagination, the other by encouraging your imagination to run a little wild for a while before drawing you back down to (Middle) Earth.
Not all maps are of geography, though, whether geographic or stellar in scope. In a story where relationships are important, like Pride and Prejudice, a character map is very helpful. A ‘murder wall’ or ‘conspiracy map’ can help visualize the connections between various clues and suspects in a mystery or thriller. A timeline is another kind of map, much more linear but full of detail that puts things in context, and can be especially important in settings that reference multiple different calendars, or as a histomap that can show the relative scope of something over time. You might have a diagram of a ship like the Enterprise from Star Trek, or a chart of magical abilities like in several different Brandon Sanderson series. (I’d love to post examples of each of these, but it would make this post rather challenging to scroll through.)
Presenting them as a visual medium, rather than a grand Wall o’ Text, helps a reader absorb the information faster and stay immersed in the story. That’s not to say that blocks of texts aren’t good bonus materials, but they’re better as something your readers can access on a wiki, as part of your Patreon, in your newsletter, or (if you’re really successful) as part of a supplemental behind-the-scenes/about-the-world book that your dedicated fans will snap up, such as The Dragonlover’s Guide to Pern, or the hard-to-find (but I have a copy!) Atlas of the Forgotten Realms.
(Yes, the latter is a D&D campaign setting, so arguably its nature is supplemental materials to begin with, but that particular volume was intended as a supplement to the novels rather than the game. You know, back when those novels were good. Hmm, I should do a blog post on the early Realms materials.)
If your map, whatever it is, has a significant amount of information on it that isn’t relevant to either the story or the map, then you’ve probably included too much. By ‘relevant to the map,’ I mean that there are plenty of map elements that aren’t necessary to the plot but put the map itself in better context by pointing out certain landmarks or making the world feel larger. Your story might mention a particular country but not mention its capital; but if you mention the capitals of two other countries and mark them on your map, you should probably mark the capital of the third, too. However, if you’re detailing a map and the action only takes place in one small corner, your map may be too large; one exception is that if the next few books will go there, putting the larger map in for context might be important.
Conversely, as the series expands, it’s necessary to update the map some more to include places mentioned so far. While I praised the original Honor Harrington map for its simplicity, the way it remained static for so long despite so many star systems being introduced was a detriment until it was finally updated.
There are also in-character, in-world maps that can be very useful in other ways, and we discussed those in the episode above. Check it out, but you might want to grab a drink and a snack first because it’s over an hour long.
This weekend marks a particular event which pilgrims from all over the world have been waiting for. It’s a highly-anticipated event every year, and tomorrow evening, as darkness gathers, groups of the faithful shall come together, united by one desire.
I speak, of course, of the Hugo Awards nominee announcement. Easter’s the next day. Also, Easter involves less shouting, though admittedly it’s associated with at least one dead body.
The Hugo controversy is a hot topic every single year, and it’s only gotten louder in the last several cycles thanks to the campaign known as Sad Puppies. In case you missed my explanation from earlier this week, here’s a shiny and well-crafted link. That post details what the Hugo Awards are, why they matter, and how the controversy started. Or rather, the current controversy. As I said in that previous post, I was voting in the Hugos years ago, before I ever heard of this Larry Correia guy. Disputes happened a lot. That’s okay; I’d actually get worried if everyone was happy about the nominees.
The current dispute over the Hugo Awards boils down to this: books should be judged on their own merits, and good writing rather than ideology should win out. Any push for a book based on its politics, or the politics of its author, is to be treated with suspicion or even outright rejection.
The most interesting thing about this dispute is that both sides are saying the same thing. Continue reading →
Language is one of those things that people tend to be concerned with when writing science fiction and fantasy (mostly in fantasy), and yet how many SF&F authors are linguists? It’s quite possible that this is a natural outgrowth of trying to show a radically different culture from our own; or it might be that the godfather of fantasy, J. R. R. Tolkien, the Professor himself, put so much work into his languages.
Not everyone is a philologist, though, much less one of Tolkien’s caliber. How do we use languages in fiction without sounding like we just made it all up? How can we make it up if we’re going to keep the audience from feeling lost? How can we even hope to show a language barrier if the book’s all written in English? Continue reading →
EDIT: Since posting this yesterday, several people have privately told me of more issues with Tuscany Press. Some of it has been anecdotal, but others have been verifiable; and it all adds up to an unpleasant picture. The editor-in-chief at Tuscany has told me that the essay I fisked in the following post is opinion and should not be construed as Tuscany’s stance, but he did not address the issue that it was approved by Tuscany despite being obviously wrong. I may do an update on this issue soon.
ANOTHER EDIT: I’ve posted an update on this situation here.
Tuscany Press has been my go-to publishing house to recommend to fellow Catholic authors. I’m associated with Chesterton Press, a smaller indie Catholic Press (my Novel Ninja business is separate and not exclusive to Catholic fiction), but Tuscany is a larger operation and can handle more submissions at a time. However, I’m no longer recommending them, due to a recent post on their subsidiary, CatholicFiction.Net, on why science fiction is evil. Continue reading →
Some years back, I implemented a new system for submissions. I never look at unsolicited manuscripts anymore; I simply get too many, even though no one (okay, few people) would confuse me for a publisher. I had to put in some form of winnowing process. Many freelancers and small presses require a nominal fee, since even a simple five-dollar payment encourages people to make certain their manuscript is in good order before “wasting” their money.
I wanted a different process, one where no one had to send me money if I wasn’t going to definitely give them value in return. I also wanted to encourage writers to clean up certain common mistakes that I kept seeing over and over. (And over, and over . . .) They all had to do with structure. Continue reading →
Recently, I gave you all a review of Shanna Swendson’s Enchanted series, an urban fantasy romance set in a version of New York where wizards, fairies, gnomes, and elves live among unsuspecting humans, hidden by magical illusions, with lives both astonishingly similar and predictably different from reality. My future co-author Elizabeth Hajek has given her own enthusiastic verdict on the series, and I should note she hadn’t even finished the sixth book before deciding to endorse it.
Well, while I waited for Swendson to publish the next book in the series, I decided to take a look at what is currently the only book in a separate series written by her, titled simply A Fairy Tale. This is similar to Enchanted because it takes place in New York, it’s a fantasy, it’s women’s fiction with significant cross-gender appeal, and it’s very good. It’s different because it’s adventure rather than romance; it’s urban fantasy only in that some of it takes place in New York; and it’s not as light and humorous as Katie’s adventures with Magic, Spells, and Illusions, Inc.
It’s also one of the best examples I’ve found so far of adapting British fairy folk tales to the modern fantasy genre that is their direct descendant. If you like your fairies to be less like Walt Disney’s Tinkerbell and more like Jim Butcher’s Queen Mab, you’ll be right at home. Continue reading →
Kind of like remembering a messy divorce, only with more epic battles.
That’s right, Tolkien fans! It’s the anniversary of the day when, mumbleteen thousand years ago, Frodo, Sam, and Gollum entered Mount Doom to pitch the One Ring into the fire below.
“Wait,” some of you are asking, “Why did Tolkien use modern dates in a fantasy world like Middle-earth? I mean, I get that it’s supposed to be our super-duper epic forgotten past, but really.”
Yeah, I get that. But you also have to remember that Tolkien was three things, in this order: a proud Catholic, an expert philologist, and a fascinated medievalist. What does all that have to do with March 25th? I’m glad you asked!
Readers of the blog know I like Lego. It’s a great toy, arguably the best single toy investment you can make for a child. Unlike a video game, its operating system doesn’t go obsolete in three years; every Lego brick you buy today is compatible with the same company’s products going back decades — and they’re not going to change that in the future. It rewards creativity, teaches spacial and structural awareness, and can be combined in so many different ways that you can never say you’ve beat the game.
And then, as an adult, you can stick with it and turn it into a genuine art form. Years of experience, an adult’s funding and patience, and that little kid inside of you that still shouts “THIS IS SO COOL!” — all joining together to show kids that art can be fun, and their fun can be true art.
You’re at a convention, doing what everyone at such an event does sooner or later: waiting on the elevator. While engaging in small talk with the lady next to you, you find out she’s a senior editor at your favorite publishing house. You decide to pitch your book to her. Problem is, you’ve only got a few moments while you both step into the elevator — and she’s probably heard pitches about books just like yours. Can you describe your novel in thirty seconds and still make it interesting? Continue reading →
1) A person who uses subtlety and a vast array of skills to bring out the best in a story, preferably when the audience least expects it. E.g.: an editor.
2) A blog run by freelance editor Matthew Bowman, focused on advice for writers and reviews for readers.
Novel Ninja 
Maps with Blasters & Blades
As I said a few posts ago, I finally got the push I needed to start updating this site when I agreed to be on the Blasters & Blades show and podcast. The episode was a fireside chat on maps, but as you might expect with seven nerds chatting about things it tangetted a few times. I’m not even the least bit sorry, because it was fun.
Here’s the link to the audio on Spotify, or you can watch the video below for the extra map visuals (and have a better idea of who’s talking).
Maps a a great bonus to have in fiction, but they should always be a bonus and not strictly necessary to understand the story. You don’t want to depend on readers flipping to the map whenever they get confused; actually, you don’t want them to get confused, period. Instead, you want them to flip to the map when they’re so interested in the story that they want the extra visual. When The Fellowship of the Ring mentions Mordor, the reader should ideally know approximately where it is already before seeing the map, and the map itself should be clarification rather than a primary source.
A simple map is good, like the extremely bare-bones map used for much of the Honor Harrington series by David Weber; it gives the minimum information you need and moves on from there without distracting you. Complex maps like in Tolkien’s Middle Earth setting aren’t complex because of geography, though, as most of the complexity is due to the art itself. That art isn’t there for its own sake, but rather to give the feeling of an expansive world with interesting terrain, full of amazing stories that happen just out of sight of the characters you’re actually following. Both styles help immersion in different ways: one by not getting in the way of your imagination, the other by encouraging your imagination to run a little wild for a while before drawing you back down to (Middle) Earth.
Not all maps are of geography, though, whether geographic or stellar in scope. In a story where relationships are important, like Pride and Prejudice, a character map is very helpful. A ‘murder wall’ or ‘conspiracy map’ can help visualize the connections between various clues and suspects in a mystery or thriller. A timeline is another kind of map, much more linear but full of detail that puts things in context, and can be especially important in settings that reference multiple different calendars, or as a histomap that can show the relative scope of something over time. You might have a diagram of a ship like the Enterprise from Star Trek, or a chart of magical abilities like in several different Brandon Sanderson series. (I’d love to post examples of each of these, but it would make this post rather challenging to scroll through.)
Presenting them as a visual medium, rather than a grand Wall o’ Text, helps a reader absorb the information faster and stay immersed in the story. That’s not to say that blocks of texts aren’t good bonus materials, but they’re better as something your readers can access on a wiki, as part of your Patreon, in your newsletter, or (if you’re really successful) as part of a supplemental behind-the-scenes/about-the-world book that your dedicated fans will snap up, such as The Dragonlover’s Guide to Pern, or the hard-to-find (but I have a copy!) Atlas of the Forgotten Realms.
(Yes, the latter is a D&D campaign setting, so arguably its nature is supplemental materials to begin with, but that particular volume was intended as a supplement to the novels rather than the game. You know, back when those novels were good. Hmm, I should do a blog post on the early Realms materials.)
If your map, whatever it is, has a significant amount of information on it that isn’t relevant to either the story or the map, then you’ve probably included too much. By ‘relevant to the map,’ I mean that there are plenty of map elements that aren’t necessary to the plot but put the map itself in better context by pointing out certain landmarks or making the world feel larger. Your story might mention a particular country but not mention its capital; but if you mention the capitals of two other countries and mark them on your map, you should probably mark the capital of the third, too. However, if you’re detailing a map and the action only takes place in one small corner, your map may be too large; one exception is that if the next few books will go there, putting the larger map in for context might be important.
Conversely, as the series expands, it’s necessary to update the map some more to include places mentioned so far. While I praised the original Honor Harrington map for its simplicity, the way it remained static for so long despite so many star systems being introduced was a detriment until it was finally updated.
There are also in-character, in-world maps that can be very useful in other ways, and we discussed those in the episode above. Check it out, but you might want to grab a drink and a snack first because it’s over an hour long.
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