The TARDIS is, after all, the Doctor’s ‘Thing’. It’s what makes him stand out as a truly unique character. Many characters in fiction have travelled through time and space; many are aliens; many speak in BBC English but no one else has a space/time capsule disguised as a British police box. If anyone did, we would all cry ‘Plagiarism! A space/time travelling police box is the Doctor’s Thing!’
Almost all of the most memorable characters in fiction have a Thing. It might be a physical object they carry, something they wear or perhaps even something they simply say. When one thinks of James Bond, we imagine a man who carries a Beretta 418 (though in reality, he did occasionally use other weapons) and drinks vodka martinis, shaken not stirred. Batman dresses like bat, drives a Batmobile and operates from a Batcave; no prizes for guessing what his thing is. Even characters from history are often assigned Things that make them recognisable when they are portrayed on stage or on film today. For example, one of the first plays I recall ever seeing included a portrayal of Henry XIII, who spent most of the play munching a turkey leg.
If you’ve been following Penstricken since it started in 2015, you may recall that on one occasion I set myself the challenge of writing 6 six-word stories using Thinkamingo’s Story Dice as stimuli. Since I am in an unoriginal sort of mood today, I’ve decided to do it again. The only difference is that this time, in addition to taking my cue from the story dice, I also intend to make each story a different genre, i.e. sci-fi, historical fiction, etc.
As before, I am using one die per story.
My main problem with Beyond was the pacing of the plot. It was fast and exciting almost from the outset, but as any good writer will tell you, speed and excitement cannot make a good story alone. Slower scenes, rich in dialogue and other details are important to allow for a build-up in suspense and to keep the audience abreast of what is actually going on. In particular, these slow scenes are essential for adding substance and meaning to a story.
So I decided that my nation had lost a war and was forced to make hefty reparations to their enemies (among other things), resulting in the new government (instituted by the winners in the war) enforcing outrageous tax hikes on the working classes while the wealthy aristocracy continued to live in comfort. The people now had a reason to be angry and rebellion had begun. Unfortunately, I suddenly found myself sympathising with my own bad guys. Vive la revolution was all I could think; and if I was rooting for the bad guys, I was quite sure any future readers I might have would be too…. Somehow, I had to sway the reader’s support to the favour of the protagonist.
Make sure your fictional world does not revolve around your protagonist. Take a leaf out of Newman’s book and force your character to adapt. That’s what will turn your character made of words into a person with substance – dare I say, a soul. Albert Einstein said “adversity introduces a man to himself”; but in fiction, adversity is what introduces the reader to the man.
Today’s short story came about as a result of a random creatively prompt provided to me by the Android app, Writer Unblocked:
In 1000 words or less, write what happens when a B-movie director gets stuck between floors in an elevator.
When I got this prompt, I couldn’t help but think that it actually sounded a bit like a B-movie about a B-movie director so naturally I thought it would be a bit of a wheeze to write it in screenplay format (or at least, as close to screenplay as I could get it; I’ve never actually written a screenplay before and WordPress has rather messed up my formatting) and give it the paper thin plot, terrible dialogue and half-naked robo-bodybuilder you would expect to find in a B-movie. My tongue was, as you might expect, firmly embedded in my cheek when I wrote this.
Research is, undeniably, one of the most important stages of writing a story. Understanding the time and place your story is set in will enable you to make that story more true to life, and therefore, more compelling. But what if you are writing a fantasy, set in an imaginary world? Make no mistake: research is just as important in fantasy as it is in non-fantasy, perhaps even more so since you are creating a world from scratch. If you’re writing a historical fiction set during the Spanish Civil War, you probably won’t need to research whether or not gravity existed in Spain or what colour the grass was. We can take these things for granted in non-fantasy, but in fantasy you need to become an expert on your entire world… and still make time to actually write the story!
How do you go about naming characters in your story? If you’re writing a sci-fi or fantasy story, you are certain to come up against this question, not only for your characters but also fantasy organisations, races, religions, philosophies, nations, planets, galaxies and just about anything else you invent!
After all, it’s no small job creating a world!
Well, for what it’s worth I’ve decided to share with you a little bit about how I like to go about naming fantasy things in this simple, handy-dandy beginners’ guide to naming fantasy things.
Fans have been, at best, mixed in their opinions about the most recent Star Trek offerings. Star Trek: Enterprise was, in my humble opinion, truly dreadful. I think I knew it was going to be dreadful from the moment I heard the words ‘It’s been a long road…’. I have a great deal more respect for the efforts of Abrams in creating Star Trek (2008) and Star Trek: Into Darkness but even these seem to lack the magic of the original series and The Next Generation. I doubt I’m alone in wondering if Meyer can again save Star Trek from dying a very slow and painful death or if it really is ‘time to put an end to your trek through the stars’.