Tag: settings

The Quiddity of Speculation: Steampunk 101

Elizabeth J. Norton
***Originally posted on The Bearded Scribe on July 27, 2013.***

The Quiddity of Speculation: Steampunk 101

GREETINGS, Fellow Writers!

Welcome back to The Quiddity of Speculation, where we dissect the various subgenres of speculative fiction and talk about some spectacular books from each! Today’s Quiddity is a favorite of mine—Steampunk! I love this subgenre for a variety of reasons, but chiefly because it revolves around history and one of my favorite time periods to research. Pull up a chair and a teacup and join me for an airship ride into the wonderful world of Steampunk!

{—BY DEFINITION—}

IN looking for a suitable definition of Steampunk to use for this piece, I ran into a bit of a sticky situation. According to Dictionary.com, it is “a subgenre of science fiction and fantasy featuring advanced machines and other technology based on steam power of the 19th century and taking place in a recognizable historical period or a fantasy world.” Here’s where it turns sticky, though: Within the broad genre of speculative fiction, Steampunk is a veritable Russian nesting doll—a subgenre of a subgenre of a subgenre. In the preface to Queen Victoria’s Book of Spells (Tor, 2013), authors Ellen Datlow and Terri Windling inform us that while this type of literature has experienced a surge in popularity of late, it is but one piece of a broader subgenre known as Gaslamp Fantasy, which in turn is a particular type of Historical Fantasy.

HISTORICAL Fantasy may be set during any period of history. Datlow and Windling tell us, “Gaslamp tales can take place at any time during the 1800s, from the Regency years to Queen Victoria’s long reign… The stories may occasionally stray into the Edwardian era, but the genre ends with World War I.” Steampunk in particular, though, is nearly always set during the Victorian era, when technology was advancing with the Industrial Revolution, but the world was still powered by steam.

{—KEYS FOR WRITERS—}

1. Inspect Your Gadgets....

PROBABLY the most recognizable hallmark of Steampunk is the gadgets. If you’re looking to write a steampunk story, ask yourself, “What if steam power had no limitations?” Just how much could be accomplished using gears and copper wiring? What problems might arise from using this technology? Let your imagination have no limits when it comes to gadgetry in steampunk writing. Even if you’re not an accomplished artist, sketch a few key devices out before you write about them. If the writer does not know exactly what a contraption looks like or how it works, neither will the reader. The more elaborate and accomplished your technology is, the better the story will be.

2. KNOW YOUR SURROUNDINGS...

THE thing that separates steampunk from straight-up science fiction is a recognizable setting, both in terms of location and time period. Although most Steampunk is set in England during the Victorian era, there’s no need to be a slave to those boundaries. As Windling and Datlow told us, Steampunk is a particular breed of Gaslamp Fantasy, and that encompasses a very long time period. The Industrial Revolution makes a convenient backdrop for advancing technology, but it is by no means the only era in which to set a steampunk story. The trick is for the writer to know their setting well enough to insert a believable and technologically advanced storyline.

3. RECONFIGURING THE COGS OF HISTORY...

SO, you know where you are in space and time and you have amazing gadgets at your disposal. Now comes the seriously geeky fun part. Twist up the details that you learned in your history classes! There’s a catch here, though: you’re going to need to do some research. In order to believably twist history, you must first know history. Do your research before you start to write and your job will be infinitely easier. Keep researching as you write and allow details to morph as needed. As you learn, change a few key things. Merge multiple characters into one, kill off an important historical figure, or stage a power struggle. Show off your gadgetry by giving the characters a reason to use it. Have fun with this! Just don’t go overboard—remember that you need to keep the setting recognizable for the reader.

{—Helpful READING—}

I really can’t say enough good things about the preface and introduction to Ellen Datlow and Terri Windling’s Queen Victoria’s Book of Spells (Tor, 2013), which contains a great definition and historical information about the Gaslamp Fantasy subgenre as a whole, and of Steampunk in particular.

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{—CONCLUSION—}

STEAMPUNK is currently surging in popularity in the publishing industry, and it has been said that it may even supplant dystopian and paranormal fiction as the next big thing in publishing. It’s also a perfect canvas for imagination to run wild in both the writer and the reader. Stay tuned for Part Two of this post, where I’ll discuss a few of the Steampunk books I adore!

Mechanically Yours!

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ELIZABETH J. NORTON

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The Quiddity of Speculation: Great Dystopian Novels

Elizabeth J. Norton
***Originally posted on The Bearded Scribe on October 23, 2012.***

The Quiddity of Speculation: Great Dystopian Novels

WELL met and welcome back, Beardies!

Welcome to the second part of the first post in our new series, The Quiddity of Speculation. In the first part, we discussed the ingredients of a good dystopian novel. Now, in the second part, we’ll be talking about a few books and authors who have done the job spectacularly. As you’re reading this post, please keep in mind that there are scores of great dystopian novels available, and don’t let my choices limit your reading. If you don’t see your favorite on this list, please tell me about it in the comments—I am always looking for suggestions!

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Beauty Queens by Libba Bray (Scholastic, 2011) combines classic dystopian elements with a humorous twist. Lord of the Flies meets Miss Congeniality when the contestants of the Miss Teen Dream Pageant are marooned on an island following a plane crash. Through the humor, Bray develops a quasi-dystopian society along with a scathing indictment of ageism, sexism, consumerism, and reality-TV culture. Although some may not consider this book a true dystopia, I have chosen to include it in this list because it delivers in all three key areas of dystopian fiction—setting, revolutionary thinking, and food for thought—and continued to resonate with me long after the last page.

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[BOOK COVER] The Ballad of Songbirds and Snakes (A Hunger Games Novel) by Suzanne Collins

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THE publication of The Hunger Games Trilogy by Suzanne Collins (Scholastic, 2008-2010) was the beginning of the current YA dystopian fiction craze. In case you’ve been living under a rock (or trapped under one) and have missed the hype surrounding this trilogy, the nation of Panem is divided into twelve districts, each of which must send one girl and one boy each year to participate in the Hunger Games, a fight to the death on live television. When Katniss Everdeen’s little sister is chosen for the Games, Katniss volunteers to go in her place. In doing so, she sparks a rebellion that will change the world as she knows it. Katniss is, at best, a reluctant heroine, as she wants only to save her sister. The Hunger Games Trilogy perfectly exemplifies that while revolution is a hallmark of dystopian fiction, sometimes the best revolution is the one that starts accidentally.

**Since this was first posted, Suzanne Collins has released a 4th Book in The Hunger Games Series, a prequel to the trilogy called The Ballad of Songbirds and Snakes, linked above.

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AN interesting take on dystopian society is The Chemical Garden Trilogy, by Lauren DeStefano. The first book, Wither (Simon and Schuster, 2011), establishes a world in which a botched attempt to create genetically-perfect children has caused all girls to die at age twenty and all boys to die at age twenty-five. As a result, a teenager’s only job in life is to repopulate the world, which gives rise to widespread polygamy. The protagonist, Rhine, is one of three wives to Linden. The action moves slowly in this dystopia, but it is an excellent example of character-driven literature. DeStefano follows up with Fever (Simon and Schuster, 2012) and Sever (Simon and Schuster, 2013).

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William Golding’s Lord of the Flies (Faber and Faber, 1954) was the first acknowledged dystopian novel. Although not an immediate success, it eventually became a bestseller and is still required reading in many schools. Its plot centers around a group of boys who survive a plane crash and the disaster that ensues when they try to govern themselves.

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The Giver by Lois Lowry (Bantam, 1993) won the Newbery Medal for excellence in children’s literature, becoming the first dystopian novel to win a major literary award. Lowry returned to the world of The Giver with two companion novels, Gathering Blue (2000) and Messenger (2004), and a sequel, Son (2012), all Houghton Mifflin), finishing off The Giver Quartet. Jonas lives in a seemingly perfect world where every family consists of a mother, father, and two children and no one ever feels pain. When Jonas enters the adult world at the age of twelve, he is assigned to be the Receiver of Memory—the person who will carry the memories of the past into the next generation for all of society. In his training with the mysterious man known as the Giver, however, Jonas comes to realize that all is not as perfect as it seems.

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IN Veronica Roth’s Divergent (Katherine Tegen, 2011), Beatrice Prior lives in a future Chicago wherein society is divided into five factions, each of which values a different quality in its members. Beatrice was raised by Abnegation (the selfless), but at the age of sixteen, she will take a test to determine if she should continue in that faction or become a member of Erudite (the intelligent), Amity (the kind), Dauntless (the brave), or Candor (the truthful). Her test results, however, reveal that she is none of the above, but rather Divergent, and thus considered a danger to society. Although this is a stellar novel for many reasons, Roth excels at developing the setting in what remains of Chicago. Beatrice’s story continues in Insurgent (Katherine Tegen, 2012), and Allegiant (Katherine Tegen, 2015), to close out The Divergent Trilogy.

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TALLY YOUNGBLOOD is the heroine of Scott Westerfeld’s Uglies Series (Simon and Schuster, 2005-2007). In the twenty-fourth century, Tally is about to turn sixteen. When she reaches that milestone, she will undergo the Surge, an extensive cosmetic operation that will turn her from an Ugly into a Pretty, the beginning of her adult life. Just before the operation, though, she discovers place called the Smoke and the people who live there, all of whom have chosen not to undergo the Surge. Through the “Smokies,” Tally learns some shocking truths about the effects of the Surge and about her society as a whole.

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{—CONCLUSION—}

DYSTOPIAN fiction is currently one of the hottest trends in young-adult publishing, and excellent dystopian novels abound. I hope you will take the time to read a few of these, but please don’t be limited by my choices. I’m looking forward to hearing about your favorites, too—please tell me about them in the comments!

Happy Reading & Happy Scribing!

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ELIZABETH J. NORTON

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The Quiddity of Speculation: Dystopia 101

Elizabeth J. Norton
***Originally posted on The Bearded Scribe on October 22, 2012.***

The Quiddity of Speculation: Dystopia 101

G’DAY to you, Beardies, and welcome back!

Any day that I get to write a post for The Bearded Scribe is a good day, and today is no exception. Today, we’re unveiling the first post in a new series we’re calling The Quiddity of Speculation. “Quiddity” is a word to which Joshua introduced me while we were throwing around titles for this series. According to Merriam-Webster, quiddity means “whatever makes something the type that it is.” The quiddity of a thing, then, is its very essence. In this series, we’ll dissect different types of speculative fiction in detail, exploring the definition and distinguishing characteristics of each. I’ve literally been researching this post since I joined the team here. It’s been a long time coming, so without further ado, let’s get to it!

ONE of the most interesting aspects of my job as a librarian is seeing the literary trends as they come and go. Five and a half years ago, when I started my library career, vampires and werewolves were in their heyday. I’ve now witnessed the gradual decline of the paranormal romance, followed by the meteoric rise of dystopian and post-apocalyptic literature triggered by The Hunger Games. Although these sub-genres are usually considered one and the same, I’m choosing to treat them separately, starting with dystopia.

{—BY DEFINITION—}

MERRIAM-WEBSTER defines “dystopia” as “an imaginary place where people lead dehumanized and often fearful lives.” First used in about 1950, the word derives from Latin and describes a place that is the opposite of the perfect society (utopia). In literature, dystopia describes a work of speculative fiction about a society that, in trying to be perfect, goes terribly wrong. Dystopia is one type of post-apocalyptic literature, but its keystone is that it features oppression caused by humans, such as police or government agencies, rather than by circumstances beyond human control.

{—KEYS FOR WRITERS—}

1. SETTING...

LIKE any Speculative Fiction, dystopia hinges on world-building. The most important piece of the dystopian world, though, is the setting. In building the dystopian setting, the more detail the writer adds, the better the story will be. Important considerations include not only physical descriptions of the setting, but also political systems, cultural norms, religious beliefs, family structures, even climate and weather patterns. The writer should also think about how the world came to be as it is. War, greed, genetic engineering, failure to conserve natural resources, and good intentions gone wrong are just a few likely catalysts. By definition, though, dystopian societies are created by human error, not natural phenomena.

2. REVOLUTIONARY THINKING...

DYSTOPIA is all about the conflict of protagonist versus society. While the setting is key, the action builds in the form of a revolution against the setting and those who control it. To incite such a conflict, an author need only plant one seed in the mind of one character. Such a seed need not even start out as an intention to start a rebellion. Side conflicts may develop as the character’s “unconventional” way of thinking causes him or her to run afoul of authorities or even other characters who resist change. In developing the conflict, the writer should consider the impact of the protagonist’s thoughts or actions on every other aspect of the society, so that an intricate web of conflicts is woven.

3. FOOD FOR THOUGHT...

ONE of the articles I read while researching this post talked about the evolution of dystopian literature. The first recognized dystopian novel was William Golding’s Lord of the Flies, published in 1954. Early dystopias featured settings that were far-fetched, with technology that was beyond belief for the times—frighteningly resonant perhaps, but not necessarily possible. More recent dystopias take the fads and problems of our current society to new levels, leaving the reader to wonder if such things as, for example, the reality-television crazed culture of The Hunger Games can be so terribly far away. In any generation, though, a good dystopia leaves the reader with plenty to think about.

{—Helpful READING—}

AS stated above, I’ve literally been researching this post since the day that I joined The Bearded Scribe’s team. I found the following two articles to be especially helpful.

  • “Teenage Wasteland: What’s Wrong with YA Sci-Fi These Days?” by Ashley Belanger, originally appeared in the Orlando Weekly on August 15, 2012. I read it when it was reprinted in the September 5-11, 2012 issue of Detroit’s MetroTimes. The full text of the article is available online by clicking the link above.
  • “The Other Side of Dark,” by Linda A. Gann and Karen Gavigan, appeared in the August 2012 issue of VOYA (Volume 35, Issue 3, pp. 234-238). Unfortunately, VOYA is only digitally archived through subscription-based services. If you are interested in reading this article, your local librarian should be able to help you obtain a copy.

And so, Beardies, we reach the end of this first edition of The Quiddity of Speculation. Please stay tuned for my next post, which will include a list of my favorite dystopian fiction. If there is a specific type of speculative fiction that you would like me to explore in a future post, please feel free to comment with your suggestions!

As Always, Happy Scribing!

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ELIZABETH J. NORTON

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World Building Series: Settings—Part I (Introduction)

Joshua A. Mercier
***Originally posted on The Bearded Scribe on July 9, 2012.

World Building Series: Settings—Part I (Introduction)

AFTERNOON, Beardies!

When I started my blog back in February, I knew right away that I wanted to include a World Building Series to help other writers. The series is designed as a reference point, to seek help if you have questions, and sort of a guide of “tips” and “techniques” in various areas of the World Building process.

(Of course, I am always open to direct questions from my followers; if you have a question you can always ask it through our CONTACT FORM.)

I’ve been putting this area of World Building off for obvious reasons. It’s massive, and it is going to take several posts to cover such an extensive topic. Other than on my languages, I’ve spent the most amount of time on this area when the original story idea for The Chronicles of Aesiranyn kept—for the lack of a better word—haunting me.

Lets start with the starting point you should start with as a writer… Maps.

An Aerial View of Elizabeth's Dream Circulatory Desk 🙂

EVEN if you are writing an urban fantasy story set in a major city on Earth, your world should have a map. Of course, if that is the case, your map is already available, and you merely have to pull up Google Maps. By saving those maps (screen shots) as a quick reference guide, you will save yourself many headaches of wondering what is located on the cross-streets of say… 42nd and 5th in New York City, wherein lies a bibliophile’s own fantasy.

For the purposes of this introduction, however, let’s assume you are building your own world.

MAPS IN FANTASY BOOKS:

HAVING a map is crucial to World Building because it helps you, the writer, view your world so that you may keep facts and settings consistent. It also provides you with a somewhat haphazard but helpful scale of your world so that you may know the distance between two places (how long does it take to travel from Point A to Point B). However, if you decide to include a map in your final product, having a realistic and thought-out map—with a humble regard to how geology forms things such as coastlines, mountains, rivers, et cetera—will greatly benefit you. There have been a few occasions in which I have opened a book and found a map that didn’t seem realistic or thoroughly researched, and so, without even a look at the text, I closed the book and placed it back on the shelf. On that note, however, there have been a couple of books in which I have ONLY glanced at the included map and decided to buy it.

Let’s touch on a few of those geological formations for this blog post.

COASTLINES:

COASTLINES are irregular. If your coastline looks like a circular or rectangular blob, your doing it wrong. Coastlines are created by the shifting of tectonic plates–plates pulling away from one another resulting in oceanic trenches, which are never clean lines. Nothing in nature is ever a clean line. Coastlines are then continually changed by the constant erosion of landmass by the waves, which is completely dependent upon the geological make-up along the coast. (Softer materials erode quicker, leaving the harder, more resolute material behind). On the other hand, if your fantasy world is made up of man-made landmasses, then by all means, draw in straight, clean lines.

An excellent place to look at how coastlines appear is an atlas. Or, in this day’s technology, Google Maps. You can take any island, any coastline of any continent (or, for that matter, just a section of it), or any ocean (or sea, gulf, or bay) as inspiration. Or, if that doesn’t inspire you, maybe its inverse will be appealing to your creative spirit.

Another great place of inspiration for the coastlines of your world can be found in nature–or even those elementally frustrating situations around the house. Have a water stain on a wall or ceiling? Trace its outline as a start and then embellish.

MOUNTAINS:

LIKE coastlines, mountains are also caused by the shifting of tectonic plates–but their convergence and deformation. Orogenesis–or the creation of mountains–happens along the lines of tectonic plates, which is the reason for extensive mountain ranges as opposed to singular peaks. Sometimes the subduction of one plate under the other occurs, but more often the convergence of the tectonic plates pushes both plates upward, causing crumpling on either side.

There are always exceptions to the rule, but taller, rigidly-peaked mountains are usually the youngest, while smooth, rolling peaks signify an older range. Take the Appalachian Mountains, for example; they are the oldest on Earth–and are one of the most visually appealing mountains because of their gently rolling peaks and valleys.

Take heed when drawing your own mountains. Get to know your land. What did it look like in its most primitive stages? Or is it still in said stage? Have its plates shifted and moved away from one another creating a drastically different landscape? Mountains should occur along where the plates collide.

RIVERS:

RIVERS flow down from higher elevations toward lower elevations. So, in simple terms, from mountains toward coastlines. They take the most direct route, so long as there is nothing impeding that route. In other words, rivers will not often change directions, unless there is, say, another mountain range blocking its route to the coast. I am in no way saying they travel in a clean, straight line (remember that nothing in nature is ever a clean line), just that they their routes are downhill.

Rivers converge; smaller tributaries flow into larger rivers. Rivers do not split, unless there are sound geological reasons for its divergence, and in this instance, the divergence happens for short distances, eventually re-converging.

If a river flows into another body of water, such as a lake, it will continue. A lake will empty at the lowest side of the lake, wherever that may be, so pay attention to the altitude in the different areas of your world.

A WOR(L)D OF ADVICE:

I am sure you all have heard the saying “If you want to be a great writer, then read, read, read,” but the same is true for world building. If you want to create great maps for your world, pick up an atlas. Look at the intricacies of the coastlines of several different bodies of land. Study the layouts, paying close attention to the three areas mentioned above.

Another great place to visit for help and questions related to World Building, specifically map creation is The Cartographers’ Guild, a forum on which you read and even participate in related threads.

Get Busy Building & Happy Scribing,

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Joshua A. Mercier

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