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 The FSFS Newsletter is written by FSFS members covering everything Fantasy and Sci-Fi |
The "Fantasy and Science Fiction Society" welcomes you to  Welcome to the July edition of the Newsletter. Written by members of the "Fantasy and Science Fiction Society" for all of Writing.Com. Contents 1. Introduction 2. Story Plots - Why They're Essential 3. At the Con: Dealer’s Room Trade-off 4. Book Review: Watership Down 5. Advertisements 6. Vote  First off, apologises for how late this Newsletter is. I knew it was going to be late, but this is 10 days later than I expected. I have very few excuses, so I won't make any! "Game of Thrones" started this month and is as intense as ever. If you want to support House Targaryen head over to "Game of Thrones" and send us some cheers. 1 Cheer costs 1000GPs and earn our house 10 points. Writing.Com Live bookended both sides of June. "Invalid Item" was our GC-rated show and "Invalid Item" was the latest 13+ show. Watch them On Demand now if you haven't already. I'm sure you will be entertained! I am aware that I still haven't sent out the GPs for the latest show, but I will do it this week or early next week (I don't have the sheet with the details on with me at the moment so need to get that first).  Image credit: Wonderbook by Jeff VanderMeer There are essentially three kinds of writers - planners, pantsers (no planning - making it up as you go along) and 'tweeners (those who are somewhere between the two). But there is something all story writers should have on completion of their novel or short story - a plot. So what exactly is a story plot? It is a literary term used to describe the events that make up a story or the main part of a story. These events relate to each other in a pattern or a sequence. The structure of a short story or novel depends on the organization of events in the plot of the story. A plot is the foundation of a novel or short story which the characters and settings are built around. It is meant to organize information and events in a logical manner. It is the mechanism which should make the story work, or connect with readers. The experience of reading a story should transport and move the reader.' Readers, when they start a story, whether consciously or not, ask questions such as, "What is this story about?" "Is anything happening?" "Why should I keep reading?" And "Why should I care?" There are five main elements in a plot: The first is the exposition or the introduction. This is the beginning of the story where characters and setting are established. The conflict or main problem is introduced as well.' The second element of a plot is known as the rising action which occurs when a series of events build up to the conflict. The main characters are established by the time the rising action of a plot occurs and at the same time, events begin to get complicated. It is during this part of a story that excitement, tension or crisis is encountered. The third element of a plot is known as the climax or the main point of the plot. This is the turning point of the story and is meant to be the moment of highest interest and emotion. The reader wonders what is going to happen next.' The fourth element of a plot is known as falling action or the winding up of the story. Events and complications begin to resolve and the result of actions of the main characters are put forward. The last element of a plot is the resolution or the conclusion. It is the end of a story and ends with either a happy ending, a tragic ending or perhaps, an ambiguous ending where something is both won and lost. Some people maintain there are really only seven basic plot types. However, there is an author, Georges Polti, who wrote a book called The Thirty-Six Dramatic Situations which suggest there can be as many as thirty-six different types of plot. (After the hyphen in each case suggested main character types are listed for each plot model) Supplication'- Persecutor, Suppliant, a Power in Authority Deliverance'- Unfortunates, Threatener, Rescuer Revenge'- Avenger, Criminal Vengeance by Family upon Family'- Avenging Kinsman, Guilty Kinsman, Relative Pursuit'- Fugitive from Punishment, Pursuer Victim of Cruelty or Misfortune'- Unfortunates, Master or Unlucky Person Disaster'- Vanquished Power, Victorious Power or Messenger Revolt'- Tyrant, Conspirator(s) Daring Enterprise'- Bold Leader, Goal, Adversary Abduction - Abductor, Abducted, Guardian Enigma'- Interrogator, Seeker, Problem Obtaining'- Two or more Opposing Parties, Object, maybe an Arbitrator Familial Hatred'- Two Family Members who hate each other Familial Rivalry'- Preferred Kinsman, Rejected Kinsman, Object Murderous Adultery'- Two Adulterers, the Betrayed Madness'- Madman, Victim Fatal Imprudence'- Imprudent person, Victim or lost object Involuntary Crimes of Love'- Lover, Beloved, Revealer Kinsman Kills Unrecognised Kinsman'- Killer, Unrecognised Victim, Revealer Self Sacrifice for an Ideal'- Hero, Ideal, Person or Thing Sacrificed Self Sacrifice for Kindred'- Hero, Kinsman, Person or Thing Sacrificed All Sacrificed for Passion'- Lover, Object of Passion, Person or Thing Sacrificed Sacrifice of Loved Ones'- Hero, Beloved Victim, Need for Sacrifice Rivalry Between Superior and Inferior'- Superior, Inferior, Object Adultery'- Deceived Spouse, Two Adulterers Crimes of Love'- Lover, Beloved, theme of Dissolution Discovery of Dishonour of a Loved One - Discoverer, Guilty One Obstacles to Love'- Two Lovers, Obstacle An Enemy Loved'- Beloved Enemy, Lover, Hater Ambition'- An Ambitious Person, Coveted Thing, Adversary Conflict with a God'- Mortal, Immortal Mistaken Jealousy'- Jealous One, Object of Jealousy, Supposed Accomplice, Author of Mistake Faulty Judgment'- Mistaken One, Victim of Mistake, Author of Mistake, Guilty Person Remorse'- Culprit, Victim, Interrogator Recovery of a Lost One'- Seeker, One Found Loss of Loved Ones'- Kinsman Slain, Kinsman Witness, Executioner If you have written a story and then you find you can't summarise it in one, or perhaps two sentences, then you can be absolutely sure your story is missing a plot. A one-sentence plot is also called a line plot, and you can't write one without including a major conflict. That conflict is the heart of the plot. Here are a couple of examples - Harry Potter And The Sorcerer's Stone'by J.K. Rowling - A boy wizard begins training and must battle for his life with the Dark Lord who murdered his parents. Lord of The Rings'by J R R Tolkien - A hobbit must take an evil magic ring of power to the land of the dark lord in order to destroy it, while his friends create a diversion.' The plot is what forms a memory in the readers' mind, allowing them to think about the book and even making them want to read it again. By identifying and understanding the plot, the reader is able to understand the message being conveyed by the author and the explicit or implicit moral of the story. So a plot is the telling of a story, not the source of it. Once you have sympathetic characters with human needs facing a compelling conflict, then you have a story. The plot comes out when you tell that story. Plot is a storytelling tool, not an end in itself. Useful links: Short story plotting - https://wikis.engrade.com/plottingashortstory Novel plotting - http://www.how-to-write-a-book-now.com/plot-outline.html "Story Plots - Why They're Essential" by A E Willcox   Recently at Balticon, one of my very cool author colleges, who is also an editor, stopped by my table a couple of times. I asked him why he didn’t have a table this year and he said to me that he decided the trade-off wasn’t worth it to him this time. Hmm, I’ve been thinking about that ever since. You see, when an author chooses to have a table in its Dealer’s Room at a convention there really is a trade-off. At Balticon that trade-off had me working the table for more than three days, with only breaks for panels and an hour here and there for meals. Often I tried to pick-up something to eat and return to my table as quickly as I could. What that also meant was I couldn’t go to a panel or even the Green Room, since I was a program participant. Those opportunities would have given me a chance to talk to the noted authors, but the trade-off is I wouldn’t have been as available to sell my books. But there are other options. I’m an Indie author and work alone. The table next to mine was Broad Universe, a co-op of women authors who shared working their table, allowing their members more time to serve on panels or network away from the Dealer’s Room. Publishers, tradition or small press, also often rotate their authors at larger conventions. There’s advantages to that. In either case, to me my having my own table at a particular conventions – that I’ve managed to even get a table at – is not about making a profit selling books. Oh, covering my costs of being at a con, even part of my costs, is a good thing. But my brand isn’t yet at the point where I can expect to cover the cost or even profit by having my own table. It’s about meeting people, connecting with readers, and hopefully building a fan base. But there’s another “con” to having a table. You need to pick the convention to have a table at carefully. I’ve asked my colleagues, who have tables at lots of conventions about whether I’d be a good match for one or another upcoming event. Their advice has been very helpful. I’ve learn that while Balticon’s Dealer’s Room has tables that are priced well, not too expensive from my perspective and the coordinators have been good people to work with, not all conventions offer their spaces at such prices. Some even have reputations for not delivering on what they’ve promised, even at that much higher price – and have a history of double booking their spaces, leaving the author unable to sell and promote their books. Also, not every convention is a good fit. This is often more than just a genre issue. A comicon isn’t a good fit for me nor is an Anime convention. The sheer size of a convention can also be a factor in being a place I should promote my books. I liked the fact that this year Balticon, celebrating its 50th anniversary, was going to have about 3,000 participants this year. Last year it was about half that. I sold double the number of books this year. I don’t think that’s simply happenstance. Though, I’ve been building my presence at Balticon for several years. Conversely, it’s not always the big conventions authors should be focusing on. I’ve had a table at an outdoor one-day book festival for five years now. A good year at that one-day book festival for me has me selling the same number of books as I normally do at an area sci fi and fantasy convention. This past book festival it rained most of the day. I brought my books individually wrapped in Ziploc bags based on the forecast… and wore a broad brimmed hat. So, I’m paying my dues and trying to be smart about promoting my books and hoping my efforts will bring a profitable year, which for any author means you’re doing something right. It also means I’m hiking a mountain and I need to be persistent -- and sometimes dogged in continuing the climb. This is just one lesson in the trade-off of having a table in the Dealer’s Room, an important lesson, especially if you like me intend to be truly successful in the long run. D.H. Aire Author of Prophecies’ Pawns, Book 6 of the Highmage’s Plight Series "At the Con: Dealer’s Room Trade-off " by Highmage - D.H. Aire   Book Name: Watership Down Author: Richard Adams First Published: 1972 The Library Association’s Carnegie Medal 1972 The Guardian Children’s Fiction Prize 1972 Author Richard Adams was born in Newbury, Berkshire. He attended Bradfield College during his early years and transferred to Worcester College in Oxford to specialize in Modern History. When World War II began, Adams enlisted in the British Army, serving until 1946. Upon his discharge, he returned to his ala mater to earn first a Bachelor of Arts and then a Masters in 1953. He worked in the civil service as an assistant secretary for the department of agriculture and then moved to the department of the Environment. With the publication of his second book, Adams was able to shift into becoming a full-time author. Watership Down started as a story that he told to his two young daughters, Juliet and Rosamund, when they were young. The family loved the rabbit stories and urged Adams to write it as a novel. It took him two years to write and was rejected thirteen times by publishers before it found a home. Watership Down went on to sell millions of copies and won the Carnegie Medal and Guardian Children’s Fiction Prize for 1972. The book has gone on to sell over 50 million copies and has earned the author more income than all his other books put together. Adams currently lives with his wife Elizabeth in Whitechurch, England a short distance from his birthplace. “All the world will be your enemy, Prince with a Thousand Enemies, and whenever they catch you, they will kill you. But first they must catch you, digger, listener, runner, prince with the swift warning. Be cunning and full of tricks and your people shall never be destroyed.” ― Richard Adams, Watership Down Watership Down begins with Fiver, a runt of a rabbit who has the talent of a seer, seeing a horrific vision of Sandleford Warren’s destruction. He convinces his elder brother Hazel that what he envisions will come to pass and that everyone needs to leave the warren before it is too late. Fiver is not believed by the leaders of the warren. Hazel and Fiver leave their home along with a small band of brother rabbits and head off into the unknown. The group is invited into a new warren, but they soon realize that it is unsafe and that the warren simply wants them to increase their own numbers because a nearby human farmer kills off a number of them for food. Hazel leads his merry band of brothers away from the dangerous warren after Fiver rescues the rabbit Bigwig from a snare. Fiver sees a new home for them in his visions and Hazel is determined to lead his friends there. Eventually, the small band of rabbits find a peaceful habitat to create a warren of their own. They call it Watership Down. At first, the rabbits are happy, but they realize that their entire group is composed of male bucks. Without female does to create kittens, the warren will die with them. Hazel enlists the help of a black-headed gull named Kehaar to locate other warrens where they might be able to convince does to join them. Kehaar leads them to Efrafa Warren, which is overcrowded and has many extra does. Hazel sends a request to the leader of the warren to ask for does, but his messengers barely escape with their lives. Hazel learns that Efrafa Warren is a police state run by a rabbit named General Woundwort who refuses to allow anyone to leave the warren. Inside there is a doe named Hyzenthlay who would like to leave and has a small group of females that would come with her. Hazel and Bigwig devise a plan to rescue the females and soon all are ensconced at Watership Down. Soon General Woundwort is on their heels and Watership Down comes under attack. Will Hazel and his intrepid rabbits protect their home and keep their new mates? You will have to read this classic tale to find the answer. I think that there are two types of people who read Watership Down. Those that see through the layers of the story and love it and those who don’t get it and wonder why anyone would like a book about talking rabbits. I first read this book in the 1980s and felt a strong connection to it. The book is one that I always think of when asked what books I favor reading. I did not understand why I felt this way at the time. I was young and not as critical about the books that I read then. I enjoyed the way the rabbits filled archetypal roles of ancient human societies: leader, seer, warrior, and villain and the sense of oral tradition with their stories about the rabbit hero El-ahrairah. Their needs are primal and to the point, find a home, select a mate, and have children. The over story is a simple one, of friendship, loyalty, and adventure, but by its simplicity, Watership Down is a bit deceiving. The characters that Adams creates are animal-like, you never forget that Hazel, Bigwig, and the others are rabbits. They retain their animal characteristics throughout the story, yet their needs and desires are the same as humans and in reading about their adventures, we the reader glimpse more of our past societies. As you absorb the mythos of their tribal organization, you start to realize that here is a commentary on how humans once lived and associated. It strikes a deep chord and resonates with most ancient cultures. I feel that this is a good book to read with your children or grandchildren. While there are a few scary parts here and there, it is a commentary on learning to embrace new ideas while retaining the wisdom of the past. Ideas that are worth passing on. For the kids, it will likely be a tale of talking rabbits, but for the parent, you will see the story with fresh eyes and appreciation if you’ve read it before. Find out which type you are when it comes to Watership Down. I suspect you will love the book.
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If you are not already a member and are interested in fantasy and science fiction writing, please read through the group homepage and apply using the application form. The only pre-requisite is that you have a fantasy or science fiction item in your portfolio. If you want to advertise in the FSFS Newsletter please contact me, Matt Bird MSci (Hons) AMRSC   .Vote I am pleased to announce that "Invalid Item" by A Guest Visitor won Best Submission for "June 2016" . The Run-on King PDG Member has won an FSFS merit badge! Use the poll below to vote for your favourite submission from this month. Thank you to all the members who submitted articles to the Newsletter. If you submitted an article that wasn't included, don't be offended. I can only fit so much in the Newsletter. Please submit it again when I send the call out for articles. Please comment on this Newsletter if you enjoyed it, or if you have any suggestions for future editions. |
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