November 4, 2011

Time

Well, I haven't exactly gotten off to the rip-roaring start I was hoping for with Nanowrimo, as I'm sure at least someone has noticed. But it's no fault of my book or writing skills. You see, the night before last I stayed up till 4:00am, working on this.


In case any one is wondering, it's a 3d design project focusing on organization. I designed the 2d image first with certain shapes, and then made the 3d transformation. 
So, no time at all for writing on the 2nd. I thought that would be ok, though, since I had written almost 700 words extra on the 1st, so it shouldn't be too hard to catch up. But then last night... I didn't get started till 10:00 (Courtesy of design class) and I was falling asleep at my computer barely 400 words in. So I decided to get some much need rest.

So now I'm a few thousand words behind, but don't worry! I can and will catch up (hopefully by the start of next week). Watch for the next three segments of Silver and Sable when they appear shortly!

November 1, 2011

It has Begun

The first 2,305 words are up! They actually went quicker than I expected, I think I've improved in writing speedily since last year. (Probably due to all the writing I've been doing lately. Doing something a lot usually helps with the speed, don't you think? :P )

So, for this first half chapter, I tried to really focus on setting up the... setting. I tried to give a brief look into the culture Rogart is from, what the people are like, what he is used to. This is important, because fairly soon we won't be seeing it anymore, so there has to be a solid groundwork for Rogart to pull from later on. I also wanted to show some of Rogart's relationship with Chain, the man he is apprenticed to. This also will disappear shortly, but it plays a key role in the end of the book, so there has to be something to go on. Until next time,

A fairly excited,
Farjag

P.S. If anyone wants to follow along as I write, shoot me an email!

NaNoWrimo!

The long awaited day is here! Tonight I shall begin my second annual 50,000 words in 30 days marathon! I shall be living and breathing Silver and Sable for the entire month of November, so blog posts will probably decrease, however what I've written each night will go up on google docs, (hopefully) so if you're interested in following along as I write, email me!

October 30, 2011

The Sound of Battle...

I wrote this excerpt for a forum a little while ago and thought it might be a good idea to post here with some additions and editing. (Saves me from having to write a whole new one!)

On how to make large-scale fantasy battles interesting, especially how it relates to being told from one character's point of view:

"There are multiple factors to consider, many depending on the setting.
 The first thing to define is the ground. If there is any height involved, someone might have a good view of at least most of the battlefield (useful for getting a clear idea of what's going on). Ridges make good defensive locations, while valleys make for good ambushes. The rougher the ground, the harder it will be to root an enemy out. 
Perhaps next most important, what kind of technology is being used, and how will it effect the battle and the watcher's line of sight? Dragons, airplanes, gryphons or hot air balloons would get a literal bird's-eye view, thus helping troop movements on the ground below, while dragon's fire, cannons, muskets or explosions would create smoke dense enough to obscure everything. (Dust from the ground could also do this).
Technology directly effects how information is passed from man to man, and thus how the reader learns  what is going on. Aide-de-camps, radios, messenger pigeons, wig-wag signals, bugle calls, all are different methods for transmitting information quickly across large amounts of space. For mainstream fantasy, a tried and true method is to relay information by couriers, this wing calls for aid, this wing sends word it is advancing. This keeps the characters at the forefront, while maintaining a good overall picture of what is going on.
Tactics also play a major role: someone laying in ambush might only hear what is going on until his signal comes, an air strike would provide an excellent overview of what is happening, snipers would be in better positions to observe much of what is going on.
The last factor to consider is who your pov character is in relation to the battle. A general might be more aware of the battle as a whole, a simple foot soldier only of what's directly in front of him. A calvary/dragon rider would see more of the battle, but would be less in direct combat, whereas a archer/siege weapon worker might have more time to watch the battle as it progressed after their projectiles were exhausted or rendered useless by troop movements.
And finally, the most important thing to include is the feel of the battle. No matter how detailed the troop movements, the thoughts of the combatants or the originality of the tactics, it all comes down to what the reader comes away with afterward. Did they sense the chaos, smell the dust, see the price paid by those who gave their lives, hear the whine of arrows, the clash of swords, the roar of beasts? Did they cringe as the flights of arrows came whining down? Did they cheer with the embattled soldiers as the reinforcements came thundering in?
If they answer is a resounding "Yes!" from your readers, then you, the author, have succeeded.
A really good author for making large scale battles interesting is G.A. Henty. He wrote historical fiction during the late 1800's, retelling nearly all the great battles of history in over 120 novels. His method of choice was usually to tell the battles from a bird's eye view, detailing troop movements, then go back and tell what his main character saw of the battle and how it affected him. He was also a master strategist, (if you want any information on guerilla warfare throughout the ages, his books are the place to go). His battles, even told from a historian's pen, accurately convey the chaos, tactics, strategy, mistakes, heroism, and scale of many of history's greatest battles.
Now, I'm no expert in this field, and I haven't written a full-scale battle in some time, (so I'm not sure how my current writing style will affect the final product) but I hope my musings and experience gained from my own writing and reading help someone else.

Passing on what I have gained from others,
Farjag

October 26, 2011

Beautiful People

As I've made the rounds of a few fellow Christian writers' blogs, I discovered this little gem of an exercise in character development. I think it's a brilliant idea, and so I have decided to jump in headfirst (the way I normally do things), and challenge my self with this month's... challenge! At the same time, I thought four days away from November might be a good time to transition from Feather and Fang to Silver and Sable. Wouldn't you? :) So, for starters, Rogart, Fox-grey shall be the character whom I dig into first. In the end, I will probably have learned more about young Rogart (who, coincidentally, happens to be my oldest real character ever!) than you have! Enjoy!



What is his full name? Rogart, Fox-grey

Does his name have a special meaning? His title, 'grey', was given to him at birth because of his fur color

Does your character have a methodical or disorganized personality? Probably disorganized, he's pretty headstrong and brash, so he wouldn't have time to be methodical

Does he think inside himself more than he talks out loud to their friends? Well, he doesn't have any friends (See below), so I suppose he would talk to himself. I know I do. :P

Do they have friends? Not really. (leastwise not at the beginning of the story). His life is nomadic at best, so he never stays anywhere long enough to make friends.

Is there something he is afraid of? A cage. Being locked up to where he cannot decide for himself what he wants to do.

Does he write, dream, dance, sing, or photograph? He whittles, carving thumb-sized sculptures from bits of wood

October 25, 2011

Switching Dialogue

One of the things I find myself doing often in editing is switching lines of dialogue between characters. I write the conversation one way, come back a month later and add a few more lines, often greatly increasing the depth and reach. But when I've finished adding those poignant sentences, I find myself with one character replying to himself. And it won't be easy to add in a line for the other character without messing up the flow of thought. So I just switch the lines around. Redpaw says what Crestlen was saying, and vice versa. Of course, the way they talk has to change as well, Redpaw is more blunt and simple, Crestlen more refined and articulate. So I switch a few phrases around.
Then comes the sentiments. What if Redpaw doesn't agree with what Crestlen was saying earlier? But I have found that switching sentiments oftentimes helps in the end, as you dig deeper into what each believes and how each reacts to different things.
Now, this probably wouldn't work with an old geezer and a young upstart, but with two trained hunters, it works quite well. At the same time, as I've separated Redpaw and Crestlen's characters, making them two distinct individuals, it sometimes becomes necessary to give one's lines to the other. For instance, Redpaw is more willing to forgive and move on, while Crestlen tends to muse on things, and keep them in his mind for extended periods of time. So when I find a line by Crestlen which doesn't seem to fit his character anymore, sometimes the easiest thing to do is give it to Redpaw, and see how the rest of the conversation shapes up.

They surprise me sometimes with the direction they take things.