If you’re back for more on writing a series, clearly my initial advice didn’t scare you away—i.e. don’t write a series. But we already covered that, so let’s move on.
A series, by definition, has more than three books. A case can be made for saying anything over two books is a series, but trilogies have become so commonplace that I think over three makes more sense. Now, this is going to sound harsh because your stories are like your children. You love them. You nurture them. You give them time and space to grow. Eventually you send them out into the world little by little—those are beta readers—then with more trepidation—that’s your editor. Finally you send them out into the world and hope you’ve done enough to make them ready for it. And you know what? You’re going to have a favorite.
If you’re back for more on writing a series, clearly my initial advice didn’t scare you away—i.e. don’t write a series. But we already covered that, so let’s move on.
A series, by definition, has more than three books. A case can be made for saying anything over two books is a series, but trilogies have become so commonplace that I think over three makes more sense. Now, this is going to sound harsh because your stories are like your children. You love them. You nurture them. You give them time and space to grow. Eventually you send them out into the world little by little—those are beta readers—then with more trepidation—that’s your editor. Finally you send them out into the world and hope you’ve done enough to make them ready for it. And you know what? You’re going to have a favorite.
Yes, I said it. All your precious darlings are not equal no matter how much you’ll tell bloggers and readers and anyone who asks that you had just as much fun writing the first one as you did the last. It’s not true. There will be a favorite and what’s worse, there will be a problem child. If, like me, you decide to write the entire series before editing and publishing, the problem child will demand attention while you’re writing another novel because it refuses to conform. You’ll go back to it over and over again because it’s just not working. There may even be times you consider whether you should keep it in the series.
Here's my advice, which runs counter to most of the advice I’ve seen. Keep your series loose. At least until you send it off for professional editing and publication. Some books will flow out of you. Others will come in fits and starts and then have another fit when you least expect it. Expect it. Sadly, this will require that you write the whole of your series first because the problem child might be the first one, or the second one.
If I had known this ahead of time, I wouldn’t have stressed so much when I realized I had to start the first book all over again—and that wasn’t even my problem child! Hopefully, this saves you a lot of heartache in the long run but honey the run will be LONG!
When I first started my writing life, I was told to start a blog to attract followers to my books. I did so, reluctantly and one of the reasons was I felt I had nothing to offer in the way of expertise. Don’t get me wrong, I know a lot about a lot of things, and I say that without an ounce of conceit. I’m naturally curious and when I want to know about a thing, I research it and study. And yet, I didn’t know what to say to people I didn’t know, who didn’t know me and hadn’t asked me for any advice. That was almost 13 years ago.
When I first started my writing life, I was told to start a blog to attract followers to my books. I did so, reluctantly and one of the reasons was I felt I had nothing to offer in the way of expertise. Don’t get me wrong, I know a lot about a lot of things, and I say that without an ounce of conceit. I’m naturally curious and when I want to know about a thing, I research it and study. And yet, I didn’t know what to say to people I didn’t know, who didn’t know me and hadn’t asked me for any advice. That was almost 13 years ago.
Now I have a few new skills under my belt. I just published the last book in my four-book series as an indie writer and publisher. It doesn’t make me uniquely qualified to give advice on writing a series—plenty of people have written multiple series—but I would like to share some of the insights I’ve learned along the way that I haven’t seen anywhere else.
Firstly, if you want to write a series—DON’T! I mean it. They are a headache for people who already have tons of voices in their head from characters screaming that they want attention, that you didn’t get the right voice, that they would never do that, etc. Now add to that continuity. Charles Dickens is a beloved author, was prolific in his time, only wrote standalone novels and even he lost the thread sometimes. It’s exhausting!
But, if you’re like me, and decided that you can take on a little insanity, here’s my advice. Continuity on your own is daunting. I have a series bible and each of my novels have at least two notebooks full notes, scenes, and chapters and I still sometimes forget the eye color of my main character. To combat this problem, I have one consistent reader who remembers stuff I no longer see because, you know, forest-trees bit. I have other beta readers, but one had made himself in charge of all the things I forget, and he does it by not remembering. We all have beta readers or readers in general who read so closely they know your characters better than you do. What you need is a non-reading reader who will write things in the margins like, “Where did this come from?” or “Can you draw a map or something?” That reader is gold because they come with no baggage and genuinely want to understand the story in front of them. Answering their questions will definitely make the story better.
The obvious answer is—don’t be silly, there’s always more. Between “lost stories” of world cultures and the tons of retellings, I should have plenty to comment on.
The writerly answer is—well, you write your own. An excellent notion except I’m already working on three books at the moment and likely will be until the end of the year.
The tougher answer is—change the topic. Not an easy proposition when your blog is named Fairytale Feminista.
It’s time to cobble together a solution, which I’ve decided is to take some of the stress off my fairy tales and let my writer woes do some of the heavy lifting. In other words, I won't just post fairy tale posts, but also some of my writing journey now that I've started a whole new project.
Did you know that there's a story that may have inspired The Legend of Zelda? That it includes a precursor to the Sanderson Sisters (in my opinion)? Skelator? A furry, kind version of Smiegel? And best of all, a clairvoyant pig? Have you guessed the story?
Did you know that there's a story that may have inspired The Legend of Zelda? That it includes a precursor to the Sanderson Sisters (in my opinion)? Skelator? A furry, kind version of Smiegel? And best of all, a clairvoyant pig? Have you guessed the story?
It's been years (decades?!) since I've seen The Black Cauldron and somehow none of the above occurred to me until I re-watched it as an adult. It's one of those rare Disney animated movies that didn't do well and has seemingly hidden away from view. I think when I saw it as a kid, I thought it was somehow related to The Sword in the Stone. I was an early lover of Swords & Sorcery (Willow anyone?) Needless to say, it had nothing to do with The Sword in the Stone, it was scarier than I was prepared for, and I erased it from my memory along with The Great Mouse Detective.
Here's some stuff I wish I'd known at the time:
It was based on a series by Lloyd Alexander that has 5 books!
The lead female role was a magical princess, not a scullery maid.
This movie was actually meant for teenagers.
Seeing it again made me wonder. While I will admit it is a seriously flawed movie--like what exactly is Gurgi? A dog? A raccoon? A Fluppy? (Points to anyone who gets that reference)--I can see how the books would have appealed to me. How many stories do we miss out on because it didn't find an audience? (Does anyone else remember The Halloween Tree? Here Come the Grump?)
Are there any stories that feel as though only you know about them because they've been forgotten?
Just to prove that title applies, I don't think it's the first time I've used it.
I read one of the myriad articles about New Year's resolutions in the last days of 2024. One stuck out for me. The idea was not to make resolutions that you don't want to do--that's homework--but to write down things your want to accomplish. The trick, if it can be called that, if to pick very specific things, write them down, and then put them away until next year. That way you're not berating yourself for not sticking to resolutions or dropping them by March.
Just to prove that title applies, I don't think it's the first time I've used it.
I read one of the myriad articles about New Year's resolutions in the last days of 2024. One stuck out for me. The idea was not to make resolutions that you don't want to do--that's homework--but to write down things your want to accomplish. The trick, if it can be called that, if to pick very specific things, write them down, and then put them away until next year. That way you're not berating yourself for not sticking to resolutions or dropping them by March.
To add to that, at the very end of the year you can document how much you've completed thus giving you a starting point for the next year. That way you see progress and not black and white success or failure.
To that end, here are a few of my professional goals:
Novels: Last year I tried something new--working on more than one project at a time. Now I can move forward with all of them getting closer to finishing at least one.
Marketing: It's time to admit I have a major deficiency and that's marketing! But now that I have a whole series under my belt I'm going to take my work seriously and not feel bad if I decide to outsource that particular chore.
Blog/Website/Social Media: Less of a bane than marketing, but more of an obligation than fiction writing, it's still important. I may not love the time it takes away from the kind of writing I love, but I do love the immediacy of publishing and getting feedback within a few days. I can commit to one fairy tale/folklore/myth etc. post a month and one writerly post a month.
And now I'm putting this post up and forgetting about it (fingers-crossed) until next year and if I ever peek I'll remind myself it's about progress.
Welcome to the Advent Calendar Story Train, where you can read through 24 stories under the theme Surprise.
The fairy who cursed Siduenya was diabolical. Not only was Siduenya barred from using her magic for her own ends, but the curse could only be reversed by someone who did something for Siduenya without being asked or feeling obligated.
Welcome to the Advent Calendar Story Train, where you can read through 24 stories under the theme Surprise.
The fairy who cursed Siduenya was diabolical. Not only was Siduenya barred from using her magic for her own ends, but the curse could only be reversed by someone who did something for Siduenya without being asked or feeling obligated.
If that ever happened, Siduenya would lose her magic forever because her “savior” would get her magic.
Siduenya figured that was the price for pissing off an edict fairy. They used their magic to infuse natural law. It was the silliest waste of magic she’d ever heard. If laws are natural, why do they need magical assistance? But the point was moot—Siduenya was stuck with a curse that she neither wanted nor wanted lifted. Now that same fairy taught curse lore at the Lyceum.
All of this rattled around in Siduenya’s head the morning Violeta knocked on her door. She had to give the girl credit—Siduenya had the most forbidding door she could devise. It was painted a gruesome red reminiscent of blood and looked perpetually moist. The knocker was a human skull with preserved eyes and a few strands of hair still clinging to the scalp. Its loosened jaw had to be moved to knock to avoid touching the menacing door. Violeta overcame what most people avoided in order to speak to Siduenya.
Violeta entered the house with brisk efficiency. Siduenya laughed aloud when she saw Violeta’s reaction to the sumptuous surroundings that greeted her.
“Were you expecting a torture chamber?” asked Siduenya.
“Frankly, yes,” replied Violeta, her voice high and reedy.
Siduenya gave her an appraising look. Violeta’s clothes were well-made, and her mud-spattered boots were functional rather than fashionable. Definitely Lyceum.
“And you came anyway? Desperate or brownnoser?” asked Siduenya. Her smile was out of practice and Violeta recoiled at Siduenya’s attempts.
“It’s not what I want—it’s what you want. I’m here to help,” said Violeta, holding out her hand to shake.
Siduenya threw her hands up in frustration and said rude words under her breath.
“Leave. I am not in the mood for one of Ametrine’s pets,” said Siduenya, shooing Violeta toward the door. A few years after Ametrine cast her curse, she started sending her most promising students to Siduenya to lift it as an extra credit assignment. At first, it was laughable and Siduenya indulged the students’ feeble attempts to break the unbreakable curse. But several decades later, it had ceased to be cute and became a constant reminder of what she’d lost. It’s what led to her using inventive door décor.
Violeta sidestepped Siduenya’s attempts to eject her.
“I know you don’t want the curse broken. Nobody wants to lose their magic. And you can’t use it for yourself. You’re like a genie without a lamp. What if I could change that?”
“You already lost, kid. Anything you do now is colored by obligation to your teacher or by my implicit desire, which may as well be a request. Now if you don’t mind—”
“You’re wrong. You don’t want the curse and you don’t want to lose your magic therefore negating your request. I have no obligations, which makes me a neutral party. So, I ask you, what’s the answer worth?”
Siduenya frowned. Violeta certainly had a new take on her predicament, but she sounded like one of those damned edict fairies with her “negating this” and “neutral party” that.
Was it possible? Siduenya saw the curse like a room with no doors, but maybe it was more like a jigsaw puzzle. Did Violeta have the missing piece? What wouldn’t Siduenya pay to get the answer? She saw warning signs everywhere, and deliberately tamped down her enthusiasm.
“The real question is—what’s it worth to you?” asked Siduenya. She offered Violeta a seat, who took it, gratefully. The walk to Siduenya’s house was neither short nor easy.
“I’m under a curse. I want it lifted and I need you,” said Violeta.
“Only the person who put the curse on you can lift it—trust me, I know,” muttered Siduenya.
“Actually, only the object of the curse can lift the curse, so I know this will work,” replied Violeta. “You lift my curse and it’ll lift yours.”
“None of this makes sense. I can’t lift curses. If I could, I would have lifted my own years ago.”
“Maybe. Tell me—is there anything about Ametrine you like?” asked Violeta.
“No! She ruined my life. If your idea is ‘forgiveness’, you’re wasting my time,” Siduenya yelled. Her small hope was shrinking. She stood, ready to throw Violeta out, forcibly, if necessary.
“No. That wouldn’t work,” Violeta said, quickly. “Ametrine must be cursed with your magic in order to lift my curse and then I can lift yours without your powers being lost.”
“What?” asked Siduenya, puzzled by the double-talk.
“I have the exact wording written down.” Violeta removed a slip of paper from her pocket.
Siduenya snatched the paper. What she read was not a curse, but a transfer spell. It seeped into her fingers, spreading throughout her body.
“What have you done?” Siduenya pulled Violeta from the chair, pushing her toward the door. But it was already too late—the paper had been enchanted. Her powers were leaving her.
“I need to borrow your magic. It’s the only way. My curse can only be lifted with borrowed magic,” she said, escaping Siduenya’s grasp.
Violeta erected an invisible wall blocking a powerless Siduenya out. Infused with the older bruja’s magic, Violeta began her spell.
“I curse you, Ametrine, with stolen magic, for someone to take your magic until it is freely returned,” she said, her voice reverberating. Siduenya didn’t doubt the echo made it all the way to the Lyceum. The walls of Siduenya’s house thrummed. With the last word spoken, Violeta disappeared.
Siduenya howled, bereft of her magic. Her anger shook the walls and cracked the ceiling. When the torrent passed, Siduenya surveyed the wreckage and gasped. She realized she’d done it with magic. But not her own.
Fairy magic.
Suddenly, she knew what Violeta had done. A slow smile crept across her face. Perhaps it was time for Siduenya to take a class at the Lyceum.
Thank you for reading today’s story. The next one will be available to read on December 11th, titled “Motherhood". This link will be active tomorrow when the post goes live.
If you missed yesterday’s you can go and read it here.
The last book in my Enchanted Path series comes out tomorrow and I was interviewed by one of my favorite blogger, Ari Meghlen. Enjoy and while you're at it check out her amazing blog.
The last book in my Enchanted Path series comes out tomorrow and I was interviewed by one of my favorite blogger, Ari Meghlen. Enjoy and while you're at it check out her amazing blog.
It’s been a long time coming. No one tells you that when you start a series it’s going to be a part of your life for years. Mine has been with me over a decade, through many iterations—it started off as Mother Goose Mysteries—and somehow became this safe place I went to as a writer. I know all the characters, though full confession, I sometimes forget the names of my tertiary characters or the color of someone’s eyes. I’ve visited the locations both in my waking and nighttime dreams. And I’ve woken up from a deep sleep having to write a line of dialogue I knew was missing. I don’t regret those nights. I do regret the nights I refused to wake up and write it down and then forgot everything except the fact that I’d had an incredible idea and let it slip away.
Now I’m closing the door on all that comfort. I’ve finished the last book in this series and I’m eager to move on to the next project (already in the works). While I can’t definitively say I’ll never revisit the world I created in the Enchanted Isles, it’s time to get excited (and uneasy) with a different story.
But before I do, with much ado, here’s the last book in the Enchanted Path series. A Mage’s Path is the realm-hopping conclusion of Inez’s story full of excitement, magic, romance, loss and discovery. I know all writer’s say it, but it doesn’t make it any less true:
I hope you enjoy reading as much as I enjoyed writing it (hopefully more because there were some days…)!
Have you come across this demarcation—a description of a novel with peppers to explain how “spicy” the writing gets? It’s a handy indicator.
Have you come across this demarcation—a description of a novel with peppers to explain how “spicy” the writing gets? It’s a handy indicator. If you don’t know, according to farofeb.com:
0 – Cozy, no heat (otherwise called “clean” but that sounds judgy regarding the rest of them)
1 – Low Heat, kisses and some intimation with a fade to black
2 – Smoldering, sexual tension, some spice but not graphic, mild language
3 – Hot, more detailed spice and language
4 – Scorching, very detailed spice, graphic language to describe sexual acts
This is all without venturing into erotica, but sometimes the line between scorching and erotica can be blurry in my opinion. For the record, I don’t mind spice in my reading and sometimes I prefer it because it means it’s likely not a YA book, which I’m currently not interested in.
But that’s not what this post is about. It’s about being a writer when the peppers loom. Some of the people who read books 1 and 2 in my Enchanted Path series didn’t read book 3 and likely won’t read book 4 because of spice. One of the subplots of my series is a growing relationship between the MC and her childhood friend. I’d call it slow burn, but then some readers expect that to happen within one book instead of an entire series. It starts between 0 and 1 then grows over the series to between 3 and 4.
How do I account for this at a time when readers essentially want to know everything they’re getting in a novel? Is this a case of the journey being more important than the destination? Do we really need signposts for a meander? These aren’t textbooks or dictionaries. I read for relaxation and to disconnect with the outside world. Then again being an avid reader, I sometimes count on those quick trope descriptors to save time.
There’s no easy answer. Reading is a personal pursuit and so is how you approach it. In the meantime, I hope those of you who don’t mind 3 or 4 peppers, grab some milk and read A Mage’s Path coming November 30th.
In less than two months, A Mage’s Path, will be released. It’s the last book in the series and it’s been a pleasure (and sometimes a pain) to write it.
In less than two months, A Mage’s Path, will be released. It’s the last book in the series and it’s been a pleasure (and sometimes a pain) to write it.
To commemorate the release, I had a giveaway for my first book, A Smuggler’s Path, on Goodreads, which has since ended. For those of you who participated and didn’t receive a signed copy, or even those who missed the cutoff, I have a special offer.
We’re still in Hispanic Heritage Month and it felt appropriate that I continue my retelling of Latino fairy tales from my particular corner of Latin America, Puerto Rico.
Another story related to the coquí dates back to the time of the Tainos, the indigenous people of the Caribbean. Admittedly, I took a few liberties with the details, but the conclusion is the same.
We’re still in Hispanic Heritage Month and it felt appropriate that I continue my retelling of Latino fairy tales from my particular corner of Latin America, Puerto Rico.
Another story related to the coquí dates back to the time of the Tainos, the indigenous people of the Caribbean. Admittedly, I took a few liberties with the details, but the conclusion is the same.
There was a water goddess who fell in love with the son of a chief. To show her favor for him, she made sure that he always returned with ample catch when he went fishing. He, in turn, would thank and praise her each time. The goddess, not content to simply love him from afar, came to the chief’s son as a Taino woman. Despite taking human form, the man knew who the woman was, and they fell even deeper in love. But she couldn’t remain indefinitely. She promised to return the next evening with the rising of the moon.
Guabancex, the benign face of the goddess of water and winds
When the man returned, instead of finding the woman and goddess he loved, he was confronted by Juracán, the mercurial side of Guabancex, goddess of the weather. Perhaps Juracán, envious of the other goddess’s happiness or overcome with desire for the man, caused the skies to darken and blew down great winds to snatch the chief’s son. The water goddess tried to save her lover, but in vain. She called his name over and over again until her voice grew hoarse, but she never saw him again. In her grief she created a tiny frog that echoed her cries, calling to the man named Coquí.
In the US, September 15th marks the beginning of Hispanic Heritage Month, which runs until October 15th. Having half of one month and then another month makes for odd celebrations—it sneaks up on you and then leaves almost silently. Sometimes I don’t remember it’s Hispanic Heritage Month until I see a commercial wishing me a happy one.
In the US, September 15th marks the beginning of Hispanic Heritage Month, which runs until October 15th. Having half of one month and then another month makes for odd celebrations—it sneaks up on you and then leaves almost silently. Sometimes I don’t remember it’s Hispanic Heritage Month until I see a commercial wishing me a happy one.
I wondered at the choice. So, I did some research. It turns out it was originally a week for decades and then grew by 1989, which explains why as a kid I didn’t know about it and then suddenly I was eight and we were told we had a month to celebrate. I also learned it’s based on quite a few Latin American independence days, which is why it starts in the middle of September.
I’m hard pressed to relate this to fairy tales because of the lack of correlation. It’s always been difficult to find any original stories that haven’t been influenced by European ones. But there is one I found that I’ve always liked. It’s the legend of the Coquí, the frog of Puerto Rico.
Ignacio, the King of the Forest and a parrot, was disgusted by how lazy and complacent his subjects had become. To encourage them he challenged them to a race and that one of each species could represent them in the race. There would be no consequences for losing, but the winner would be given a surprise gift. The animals chose their strongest and fastest but didn’t take it too seriously. However, the tiny coquí, who had no voice, did. They trained a champion in the hopes it would outstrip the bigger, stronger animals.
The day of the race, the biggest and strongest animals lined up next to the tiny coquí and sprinted forward leaving the frog behind. And yet, the coquí used his powerful legs to jump past the leaders and won. King Ignacio, true to his word, spread his wings and chanted over the tiny frogs and gave them a voice. They, in turn were able to respond with a special song, “COQUÍ, COQUÍ.” And it was a reminder those who are overlooked can make their voices heard.
A comforting thought when your month is really half of two cobbled together.
As I’ve mentioned more than once lately, I’ve been working on the last book in my Enchanted Path series, A Mage’s Path. Ending a series is harder than I thought it would be. A part of me is relieved and proud that I’ve finished an entire series with characters and places that will stay with me forever. The other part is exhilarated to start the next chapter (pun intended) of my writing life. Not to give too much away, but I’m already working on my next project (I refuse to say series, but who are we kidding?) and I’m excited about it.
Hey readers!
As I’ve mentioned more than once lately, I’ve been working on the last book in my Enchanted Path series, A Mage’s Path. Ending a series is harder than I thought it would be. A part of me is relieved and proud that I’ve finished an entire series with characters and places that will stay with me forever. The other part is exhilarated to start the next chapter (pun intended) of my writing life. Not to give too much away, but I’m already working on my next project (I refuse to say series, but who are we kidding?) and I’m excited about it.
This also marks the part that I’ve always found challenging—the marketing. Because it’s the last book in a series, I felt it needed more pomp than usual. In honor of the series, I’m offering a giveaway on Goodreads for the book that started it all—A Smuggler’s Path.
Five signed copies are up for grabs from September 5th through the 25th. There will be other fun offerings related to the series that will run through to the holiday season!
And check the website soon for more about the last book in the Enchanted Path series, A Mage’s Path!
I think all authors have a similar dream. For me it was writing a book followed by a small but vocal readership that would result in a groundswell of readers. It would happen, and this is important, within my lifetime, and I would spend my days going from readings and signings between growing an impressive list. I might also indulge the fantasy that despite not writing mystery novels my life would be very much like Jessica Fletcher’s.
I think all authors have a similar dream. For me it was writing a book followed by a small but vocal readership that would result in a groundswell of readers. It would happen, and this is important, within my lifetime, and I would spend my days going from readings and signings between growing an impressive list. I might also indulge the fantasy that despite not writing mystery novels my life would be very much like Jessica Fletcher’s.
Note that nowhere in that dream do I include, tweeting, posting, snapping, or anything related to social media. I’ve railed about this before, while quietly conforming to the expectations of a 21st century writer. I started a blog. Created a website. Joined Twitter (may it rest in pieces) and now I’ve joined Instagram. I’m sure some of you are thinking I’m a little late to that, but I believe in fashionable tardiness to most parties.
And yet, as I made the account, ilcruzwrites, I asked myself a question. WWJAD--What would Jane Austen do? Or the Grimm Brothers? Or Dickens? Or any well-known author who doesn’t have to worry about followers or likes.
Well, Austen’s fame grew after her death and the success she knew in her lifetime only came because she published anonymously and at her own risk (i.e. indie publishing).
The Grimm Brothers also toiled in obscurity for a time and only gained traction with each subsequent edition that was tweaked each time to appeal to children (i.e. rewrites based on reader notes).
Dickens was famous for holding readings in Europe and North America to widen his audience (the social media of its day).
By Charles A. Barry
And so I continue, indie publishing, getting beta readers, and trying to use social media to market and find that small but dedicated readership that will make my dreams come true.
Now I just have to learn how to use Instagram. Any thoughts?
I decided early in this blog that I wouldn’t apologize for long absences because it was inevitable. Blogging has always been in service of my writing. Don’t get me wrong—I’ve loved interacting with the blogging community I’ve become a part of and I've made wonderful friends. But I also know that when I have a limited amount of time to pursue writing, my fiction gets priority every time. This is all to say, I’ve been away because I’m writing.
I decided early in this blog that I wouldn’t apologize for long absences because it was inevitable. Blogging has always been in service of my writing. Don’t get me wrong—I’ve loved interacting with the blogging community I’ve become a part of and I've made wonderful friends. But I also know that when I have a limited amount of time to pursue writing, my fiction gets priority every time. This is all to say, I’ve been away because I’m writing.
As you are aware (at least that’s the hope because if you're not, I have to up my marketing game), the next book in my Enchanted Path series, A Mage’s Path, will be the last (more on that later). It has taken longer than expected and while I can’t rule out some subconscious aversion on my part to end something that’s been part of my life for over 10 years, I’m really happy to finish it. Right now, the finished manuscript is out with my editor.
Thanks to cover artist, Jack Baker, for his wonderful design
This year I’m trying something new. Instead of focusing all my writing attention on one project, I’m working on three. A Mage’s Path in in final edits. The second novella in my paranormal romance, The Cemetery Circle, is in its second draft phase. And a new book, which will likely be a duology is being “world-built” and outlined.
So, yeah, I’ve been busy.
But I haven’t forgotten about Fairytale Feminista. Fellow blogger, Ari Meghlen, gave me an idea for a new series of posts I hope to write soon. In the meantime, I hope you’ll join me on my writer website and learn more about finishing my first series.
First, let’s address the elephant in the room…or the blog. I’ve been gone for a really long time. It wasn’t intentional, but it was with a good reason. I’ve been working on the last book in my Enchanted Path series and being a final book in a series, it’s become a bit of a bear. More on that in another post. This one is a question I’ve been asking myself while working through (seemingly) endless edits.
Plot Vs. Character—Fairy Edition
First, let’s address the elephant in the room…or the blog. I’ve been gone for a really long time. It wasn’t intentional, but it was with a good reason. I’ve been working on the last book in my Enchanted Path series and being a final book in a series, it’s become a bit of a bear. More on that in another post. This one is a question I’ve been asking myself while working through (seemingly) endless edits.
Plot or Character?
I know people who prefer a story that is character driven—where the plot is solely there to advance the development of the character—and like a deep dive into someone’s (or many someone’s) emotions.
What is he thinking? Courtesy of Cottonbro Studios
Others prefer plot over character where the person (or persons) are a device through which the reader understands what’s happening. As a speculative fiction writer I tend to fall in the latter camp. I start a story with a problem or a situation and then I think about the best and worst people to deal with it.
Courtesy of Suzy Hazelwood
The pitfall of character stories is sometimes nothing actually happens, at least not beyond the character’s mind. On the other hand, when plot of all important, a story can feel more like the Perils of Pauline, jumping from one disaster to another with people you barely know.
As the title of this post suggests, I wanted to look at this through a fairy tale lens. It shouldn’t come as a surprise that fairy tales are plot driven. Sometimes the characters don’t even have names, just titles or occupations. However, those stories are also very good at getting to the point of who the characters are and what they have to overcome. Cinderella is good and in a bad situation. The Wolf is bad and hungry.
Having that spelled out means we can focus on what happens to these characters. If we switched out these characters with other people, other things could happen. Red Riding Hood would likely neglect the chores Cinderella does in favor of exploring the woods. If the Giant from Jack and the Beanstalk were stomping about the woods, he’d likely have ignored the three little pigs or smashed all three houses without a second thought. So, characters do matter in plot driven stories.
Longer fairy tales can be character driven. Alice in Wonderland follows the adventures of one specific girl and her development from bored pupil to a queen. Would the story have taken the path it did if Alice had been Snow White or even an older Alice? A lot of the story depends on Alice being who she is at a particular time in her life.
Would an adult just drink it? Courtesy of Naele Souza
I don’t know if any story can be called plot or character driven. A good story has both concepts playing with or against each other. Maybe it’s more a writer thing than a reader one. As a reader I hope to lose myself in a story with relatable characters and a plot that holds my interest. As a writer only one or the other starts a project.
How about you? Do you think character or plot is more important? Do you think there should be a distinction?
It's the end of Hispanic Heritage Month in the states and I have a confession to make.
I am a Latin American woman and I don't like magical realism.
It's the end of Hispanic Heritage Month in the states and I have a confession to make.
I am a Latin American woman and I don't like magical realism. It doesn't sound like a scandalous thing to say, but after reading my fair share of Marquez, Borges, Ortega y Gasset, etc. (in the original Spanish) I can soundly say I don't care for it. I also say this knowing how important a genre it has become for the Latino community. I can only speak for myself, but it's not uncommon for Latinos to believe in Catholicism and Paganism at the same time. We've been known to pray to God and also light candles to ancestors to intercede in daily affairs. We can hang a cross at one end of the house and a horseshoe at the other both to ward away the evil eye and negative spirits. Magical realism is a part of our lives.
So I don't mind the idea of magical realism. It's the "literarification" (an invention, I know) of it. I feel about it the same way I feel about Hawthorne. It's overblown and too descriptive with tragedy on every page. But that's not the worst of it. It's a pig with lipstick. Let me explain.
As I'm sure most readers of this blog know, I read fairy tales. I don't just read them for pleasure, but also to understand whether they still speak to a modern mind. For all intents and purposes, magical realism is just long form fairy tales. If you don't know, magical realism is when the fantastical is treated as normal in everyday life. What could be more in keeping with that genre than stories which include fairy godmothers arriving to help scullery maids attend royal balls or planting seeds from a stranger that become portals to a world of giants? And yet, magical realism goes on for pages and pages doing what folklorist can accomplish in 1,000 words or less.
Don't get me wrong. I don't object to length. I like weighty tomes with tons of world-building and fantasy settings. My problem is magical realists, literary magical realists, write what could be interesting fantasy stories, but because the idea of genre fiction is somehow less than worthy choose to add pretension.
That is not to say some people haven't done it well, usually with a lighter touch. These tend to be tagged as rom-coms or cozy fantasy. Or sometimes they work better as movies, such as Like Water for Chocolate, Amelie and Big. There are times I wish I liked it more--it seems like the perfect fit on paper--but being a reader who actually enjoyed the Shakespeare unit and F. Scott Fitzgerald among other literary classics, I've yet to find the literary magical realism book that didn't feel like work.
Maybe I haven't found the recommendation. Any to suggest?
In real life, Cinderella would have slipped laxatives into her stepmother and step sisters’ morning tea or packed a bag for the next village. The youngest son in The Golden Goose would have refused to go chopped wood after his two older brothers had maimed themselves. Sleeping Beauty would have heard gossip which invariably went around the castle to find out why no one sowed. The brave little tailor would have killed the flies and then saved it as a fun story the next time he went to the tavern. The Three Little Pigs (putting aside anthropomorphized pigs) would have lived together in a brick house they could have built in half the time and avoided the wolf.
In real life, Cinderella would have slipped laxatives into her stepmother and step sisters’ morning tea or packed a bag for the next village. The youngest son in The Golden Goose would have refused to go chopped wood after his two older brothers had maimed themselves. Sleeping Beauty would have heard gossip which invariably went around the castle to find out why no one sowed. The brave little tailor would have killed the flies and then saved it as a fun story the next time he went to the tavern. The Three Little Pigs (putting aside anthropomorphized pigs) would have lived together in a brick house they could have built in half the time and avoided the wolf.
None of that happened because fairy tales live in hyperbole. Maidens aren’t pretty, they are rare jewels. Boys aren’t just resourceful, they luck into whole new lives. Queens are evil or destined to die (or both). Kings give away their daughters to anyone who can solve a riddle or kill a giant. And I accept that in fairy tales because the format is short story, and it must convey its message in a clear and concise way. Archetypes are helpful in short stories.
Lately I’ve been abandoning books that employ archetypes. While I’m fine with Cinderella having a martyr complex for most of the story knowing she’ll get out of her situation, I am less tolerant of novel-length stories about martyrs who constantly make themselves smaller and artificially unobtrusive. I know why the youngest son (the simpleton) had to go and chop wood, but if a story revolves around a protag that falls into danger every time he leaves the house, I’m annoyed. Keeping the secret of Sleeping Beauty’s (the innocent) calamitous christening is a major plot point, but if not sharing a vital piece of information continually causes problems in a book, I become frustrated.
I think I accept archetypes in short stories because I don’t expect characters to grow or have a real arc. That isn’t true in full-length novels, especially a series. I’ve abandoned books and TV shows for just that reason. Fairy tales need a short hand to convey ideas that just doesn’t work in longer stories.
Are there plots or characters you can only enjoy in the short term?
The other day my daughter said something that caught me completely off guard. We were watching A Tale Dark and Grimm on Netflix (which if you haven’t seen it, I highly recommend) and there was a reference to Rumpelstiltskin. She turned to me and asked who Rumpelstiltskin was.
Reader, I was flabbergasted!
The other day my daughter said something that caught me completely off guard. We were watching A Tale Dark and Grimm on Netflix (which if you haven’t seen it, I highly recommend) and there was a reference to Rumpelstiltskin. She turned to me and asked who Rumpelstiltskin was.
Reader, I was flabbergasted!
How could it be that my child didn’t know a seminal character from fairy tales? I remember reading the story, among others, to her when she was little. It was the story that started my Fairytale Feminista journey asking the question where fairy tales fit in modern storytelling and life. Where did I go wrong?
It really got me thinking about universality and storytelling. When I was a kid, my friends and I basically watched the same shows, read the same books, and went to the same movies. We had common reference points to communicate with each other. We all knew what it meant when you said, “I feel like Cinderella” or “I’m looking for my Prince Charming”. Now, everyone can have follow a sub-sub-genre of anything that caters to seemingly an audience of a hundred, a dozen, or even less. With all these “curated media experiences” we’ve lost something connective.
Don’t get me wrong. It’s wonderful and amazing that we’ve expanded the lexicon of storytelling by adding more people and experiences that were otherwise lacking (read: European and patriarchal to diverse in all senses of the word). I am happy that I finally see myself in some of my favorite genres. I also miss talking about a book I’m reading with friends and family because they’ve never heard of it.
What does this mean for something as arcane as fairy tales? Will their origins get lost or will the entire genre simply disappear? I know it’s not a dire threat, what with Disney and fairy tale retellings, but even that might one day lose its appeal.
In the meantime, I will continue to watch A Tale Dark and Grimm and fill in any gaps in what I consider a vital education for my daughter. Wish me luck!
Reader, do you think there are still universal stories or should we let go of that idea all together?
When I start a story, I begin with the conflict. I ask a question and then I try and find characters and settings that help answer it. It’s a very research paper way to write fiction, I just realized, but it works for me. Some people start with a character or even a name. I, on the other hand, start with the story and then have a dedicated name day.
When I start a story, I begin with the conflict. I ask a question and then I try and find characters and settings that help answer it. It’s a very research paper way to write fiction, I just realized, but it works for me. Some people start with a character or even a name. I, on the other hand, start with the story and then have a dedicated name day.
It’s a day when I break out my big book of baby names and flip through looking for monikers that will have deep meaning or sound melodic to the ear. But that always comes later. I want to know more about the characters before I saddle them with names. It’s the same with place names.
Fairy tales don’t have this problem. How many Jacks have a story? Little Red Riding Hood must have been a placeholder that was never fixed. Does anyone know Sleeping Beauty’s name? And yet Cocklestrutshell and Frosty Ash don’t have quite the appeal of Rumpelstiltskin and Snow White.
I remember complaining to a friend that speculative fiction writers have this unspoken contest to outdo each other with names to the point that trying to pronounce them takes away from the experience. I, for example, try to use as many Latino names as possible (because I rarely found them in my books growing up and even now), but I also think about the English speaker and pronunciation. Ana works for most tongues, but Asunción de Maria, can be a mouthful.
So, when do names matter? Do they require deep meaning? Or is it like an architectural flourish that a builder adds, but the occupant of the space barely notices?
