Fabulism: Exploring the Boundaries Between Reality and Imagination

 

 

Fabulism: Exploring the Boundaries Between Reality and Imagination

 

by Olivia Salter

Fabulism, often described as a genre that blurs the line between reality and fantasy, has gained popularity in contemporary literature for its ability to captivate audiences with its enchanting narratives and thought-provoking themes. Rooted in fairy tales, folklore, and mythologies, fabulism explores the mysteries of the world through storytelling that defies traditional genre classifications. Writers of fabulism weave magical elements into their narratives, creating worlds where the impossible becomes possible and the mundane is transformed into the extraordinary.

At the heart of fabulism lies a sense of wonder and the exploration of the unknown. Authors who embrace this genre often delve into themes of transformation, identity, and belonging, using fantastic elements to shed light on complex human experiences. By blending reality with the fantastic, fabulism offers readers a fresh perspective on familiar themes and challenges traditional notions of what is considered possible.

One of the key characteristics of fabulism is its use of symbolism and allegory to convey deeper truths about the world we live in. Through fantastic creatures, magical objects, and otherworldly settings, writers of fabulism can explore complex social issues, philosophical concepts, and emotional truths in a way that invites readers to engage with the text on multiple levels. This layering of meaning adds depth and richness to fabulist works, inviting readers to uncover hidden truths and meanings beneath the surface of the narrative.

In writing fabulism, authors are encouraged to embrace the imaginative and the surreal, pushing the boundaries of what is considered possible. By infusing their stories with elements of magic, mythology, and folklore, writers can create worlds that are both captivating and thought-provoking, inviting readers to suspend their disbelief and embark on a journey of wonder and discovery.

To write fabulism effectively, writers must pay careful attention to world-building, character development, and thematic resonance. Creating a vivid and immersive world for readers to explore is essential in fabulist storytelling, as is crafting complex and memorable characters who resonate with readers on an emotional level. Additionally, weaving thematic threads throughout the narrative can help give the story depth and coherence, allowing readers to connect with the underlying messages and ideas being explored.

Ultimately, fabulism is a genre that celebrates the power of imagination and the beauty of storytelling. By blending reality with the fantastic, writers of fabulism are able to craft narratives that challenge our perceptions of the world and invite us to see things in a new light. Whether exploring the depths of the human psyche, the mysteries of the natural world, or the complexities of society, fabulism offers a unique and captivating lens through which to view the world and our place in it.

 

Also see:

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A Quick Note on Tropes in Genre Writing in Fiction Writing for the Novice Writer by Ryker J. Phoenix

 

A Quick Note on Tropes in Genre Writing in Fiction Writing for the Novice Writer

 

by Ryker J. Phoenix

 

 Tropes are often used in literature as a way to create familiarity and provide a sense of structure to the story. They are commonly used because theyhave been successful in the past and resonate with readers. However, overuse of tropes can lead to predictable and mundane storytelling.

A trope can be a plot device, such as the hero's journey or love triangle, or a character attribute, suchas the brooding anti-hero or the wise mentor. These tropes have become so ingrained in the genre that they are now seen as commonplace and expected by readers.

One of the most common tropes in literature is the love triangle. This occurs when a protagonist is torn between two love interests, often with very different personalities or backgrounds. The love triangle trope can be found in many genres, including romance, young adult, and even science fiction.

While the love triangle can add drama and tension to a story, the overuse of this trope can become formulaic and predictable. The same can be said for other popular tropes such as the chosen one, the underdog, and the revenge plot. These are all tropes that have been used so often that they have lost their originality and impact.

One of the dangers of relying too heavily on tropes is that they can lead to flat and stereotypical characters. For example, the "damsel in distress" trope portrays women as weak and helpless, while the "macho hero" trope depicts men as emotionless and invincible. Using these tropes perpetuates harmful gender stereotypes and limits the range of character development.

However, when used effectively, tropes can add depth and nuance to a story. They can be subverted or twisted to create unexpected twists and turns. For example, in the movie "Frozen," the true love between sisters subverted the traditional romantic love triangle trope.

In conclusion, tropes are a common and expected part of literature. While they can be effective in creating familiarity and structure, they should be used carefully and judiciously. Overusing tropes can lead to predictable and formulaic storytelling, while subverting tropes can add depth and nuance. Ultimately, it is up to the writer to use tropes in a way that enriches the story and breaks new ground.

 

Also see:

• Romantic Tropes: Guide to Help Romance Novel Writers
•  4 YA Fantasy Tropes That Aren't Overdone and How to Write Them
•  80 Sci-Fi Tropes for Writers
•  Why You Should Create Your Own Genre
   

More Quick Notes for the Novice Writer

A Quick Note on Twisting Genres in Fiction Writing for the Novice Writer by Ryker J. Phoenix

 

 A Quick Note on Twisting Genres in Fiction Writing for the Novice Writer

 

by Ryker J. Phoenix

 

Successful writers are often praised for their ability to take the genres they are working in and twist them in a unique way that captures the attention of their readers. This ability to innovate and create something fresh and exciting is what sets successful writers apart from their peers.

Every genre has its conventions and tropes that readers have become familiar with over time. For instance, in the romance genre, there is often a predictable plotline involving two people falling in love and overcoming obstacles to be together. In the mystery genre, there is usually a detective who solves a crime by piecing together clues.

However, successful writers take these conventions and twist them in such a way that the story becomes almost unrecognizable. They may introduce unexpected elements or subvert readers' expectations to create a unique and surprising narrative.

One example of a successful writer who has done this is Gillian Flynn, author of the novel "Gone Girl." While "Gone Girl" is marketed as a mystery thriller, it defies many of the conventions of the genre. Instead of a straightforward whodunit, the novel is a complex and twisted story of a dysfunctional marriage and the secrets that the characters keep from one another. Flynn's unique twist on the genre captivated readers and made "Gone Girl" a bestseller.

Another example is the writer Neil Gaiman, who has gained a following for his ability to blend genres and create stories that defy categorization. In his novel "American Gods," Gaiman takes elements of fantasy and mythology and combines them with a road trip narrative to create a unique and engaging story. By twisting the genre in this way, Gaiman creates a world that is both familiar and strange, drawing readers in with its originality.

By taking the genres they are working in and twisting them in a unique way, successful writers are able to capture readers' attention and create stories that stand out from the crowd. This ability to innovate and create something fresh is what sets successful writers apart and helps them to carve out a place in the literary world. Whether it is through unexpected plot twists, unique characters, or a blend of genres, successful writers are constantly pushing the boundaries of what is possible in their chosen genre.


 

 More Quick Notes for the Novice Writer

Thriller Writing Tip: 8 Things Every Thriller Should Include

Thriller Writing Tip: 8 Things Every Thriller Should Include
 

The essential plot elements of a thriller are:

1. The element of suspense: Writing suspense is a matter of controlling information—how much you reveal, and when and how you reveal it. While every thriller novel will have a central, overarching storyline that seeks to answer a sole dramatic question, that question is built on smaller moments that carry the reader through and sustain their interest along the way.
2. A hero: The main character the reader is rooting for. Despite the term “hero,” they don’t have to be a perfect specimen of bravery or strength; great heroes emerge from the trials they encounter.
3. A sidekick: A secondary character that helps the reader understand the hero’s strengths and motivations. Usually a mentor, friend, helper, or romantic interest, they assist the hero with an alternate skill set, act as a sounding board, provide emotional support, get themselves into trouble so the hero must rescue them, and provide comic relief.
4. A villain: The defining force that antagonizes your hero. The villain’s motivations create the crisis for the hero. They’re usually introduced with a bang, sending the reader a clear message that they’re malicious. However, they still need to be a thoughtful character with their own sense of morality and believable reasons for being evil.
5. Plot twists: You don’t want to go out of your way to mislead the reader or outright lie to them, but you do want to keep them on their toes. Unexpected plot twists will take them by surprise and reinvigorate their interest in the story.
6. Red herrings: Hint at explanations that may not be true and get the reader to believe a false conclusion about the plot. When done well, they’ll feel surprised by the truth and will enjoy the misdirection, having learned something useful about the setting or the characters along the way.
7. Cliffhangers: Pose a big question at the end of a chapter. Typically, a cliffhanger stops during a climactic event midway through the action instead of its natural conclusion. Take the reader to the moment before fulfillment, stop there, and switch to another scene. They’ll want to know how it plays out.
8. An exciting climax: Thrillers built toward one exciting moment. This is when the hero faces their biggest obstacle and the reader learns all of the remaining information that’s been kept a secret.

 

Also see:

• Books on Writing Thriller Novels and Screenplays

 

Thriller Writing Tip: The Anatomy of a Thriller

Thriller Writing Tip: The Anatomy of a Thriller
 

Every thriller has three C’s: the contract, the clock, and the crucible.

1. The contract: an implied promise you make to the reader about what will be delivered by the end of the book. It’s crucial to keep every single promise you make, no matter how trivial.
2. The clock: the fact that adding time pressure to any character’s struggle will create higher stakes and more interest for the reader. The goal of this element is not to be stunningly original but to add pressure that will prompt conflicts and intense responses from your characters. 
3. The crucible: a box that constrains your characters, offers them no escape, and forces them to act. Your story should present an increasingly difficult series of tasks and situations for the hero that will funnel them into the most severe trial of all. You must make sure that each successive task is harder than the previous one and that, for the hero, there is no escape. If readers begin to sense that the journey is becoming easier, they’ll lose interest.

 

Also see:

• Books on Writing Thriller Novels and Screenplays

 

Thriller Writing Tip: You Must Create Thrills Consistently Throughout Your Novel

Thriller Writing Tip: You Must Create Thrills Consistently Throughout Your Novel
 

Remember, this is a thriller, so the audience needs to be thrilled. That means you need to keep them on the edge of their seat. You want to give them an emotional roller coaster ride that starts on the first page and doesn’t end until the final page of the novel.

 

Also see:

• Books on Writing Thriller Novels and Screenplays

 

Thriller Writing Tip: Play With Trust and Betrayal

 

Thriller Writing Tip: Play With Trust and Betrayal

 

Your Hero is about to be thrust into a world of uncertainty, competing agendas, and downright deception. It will be totally outside of their comfort zone, so they’ll naturally look for someone they can trust.

That creates all kinds of emotional opportunities for you as the writer. Trustable characters may be forced to betray your hero. Devious characters may turn out to be trustable. The person we believe in most may end up being the Villain.

Trust is a wonderful thing in real life, but in a thriller, it is a valuable tool for the writer.

Also see:

• Books on Writing Thriller Novels and Screenplays

 

Thriller Writing Tip: Drag your Hero through Hell

Thriller Writing Tip: Drag your Hero through Hell

 

Your hero is a great person who deserves to have friends and happiness. So I’m sorry to give you this bad news. But your job is to be their worst enemy. Your job is to put them in a bad situation and then keep escalating the pain and conflict until a normal human being couldn’t stand it.

If you are nice to your Hero, it reduces the quality of your story. If you are nice to them, it reduces the quality of the reader’s experience of this novel.

Also see:

• Books on Writing Thriller Novels and Screenplays

 

Horror Writing Tip: The Biggest Mistake Amateur Horror Writers Make

Horror Writing Tip: The Biggest Mistake Amateur Horror Writers Make

 

by NotherCaucasianGary

 

I saw this response to a question on amateur horror writers @ Reddit, in r/horrorwriters. I think he nailed it, so I decided to share it here.

 

 The biggest mistake amateur horror writers make is believing that a story needs only to be scary to be good. You can’t just throw a few ghosts in a house and call it a day, and a pair of glowing eyes out in the woods isn’t enough to make a story worth reading.

The very best horror speaks to a relatable truth. Horror isn’t just ghouls and gore, it needs to be about something. I’ll use Stephen King as an example.

The Shining is about alcoholism, and the isolated struggle of recovery and temptation.

Pet Sematary is about grief and the deep emotional turmoil that follows trauma and loss.

It is about generational trauma, abuse, bigotry, and the inherent evil of small town life and the willingness of locals to turn a blind eye to the terrible things happening in their own backyards.

Gerald’s Game is about misogyny, sexual abuse, and the violent, uphill struggle women face navigating a man’s world.

Misery is about the mental and emotional (and sometimes physical) risk of exposing your creative endeavors to the monstrous, grinding machine of critics and fanatics.

Every ghost, goblin, monster, and beast is a metaphor, an ugly stand-in for the very real and visceral horrors that real people face every day. Plenty of folks can write stories that are spooky or scary but go no further than that. If you want to write good horror, meaningful and effective horror that gets under your skin and leaves a mark, you better have something to say.

 

 Also see:

• Horror Writing Books at Amazon

Understanding Genre: Notes on the Thriller by Crawford Kilian

Understanding Genre: Notes on the Thriller

by Crawford Kilian

 

``Genre'' simply means a kind of literature (usually fiction) dealing with a particular topic, setting, or issue. Even so-called ``mainstream'' fiction has its genres: the coming-of-age story, for example. In the last few decades, genre in North America has come to mean types of fiction that are commercially successful because they are predictable treatments of familiar material: the Regency romance, the hard-boiled detective novel, the space opera. Some readers, writers and critics dismiss such fiction precisely because of its predictability, and they're often right to do so. But even the humblest hackwork requires a certain level of craft, and that means you must understand your genre's conventions if you are going to succeed--and especially if you are going to convey your message by tinkering with those conventions. For our purposes, a ``convention'' is an understanding between writer and reader about certain details of the story. For example, we don't need to know the history of the Mexican-American War to understand why a youth from Ohio is punching cattle in Texas in 1871. We don't need to understand the post-Einstein physics that permits faster-than-light travel and the establishment of interstellar empires. And we agree that the heroine of a Regency romance should be heterosexual, unmarried, and unlikely to solve her problems through learning karate.

As a novice writer, you should understand your genre's conventions consciously, not just as things you take for granted that help make a good yarn. In this, you're like an apprentice cook who can't just uncritically love the taste of tomato soup; you have to know what ingredients make it taste that way, and use them with some calculation.

So it might be useful for you, in one of your letters to yourself about your novel, to write out your own understanding and appreciation of the form you're working in. I found this was especially helpful with a couple of my early books, which fell into the genre of the natural-disaster thriller. Your genre analysis doesn't have to be in essay form; it just has to identify the key elements of the genre as you understand them, and that in turn should lead to ideas about how to tinker with the genre's conventions. And that, in turn, should make your story more interesting than a slavish imitation of your favorite author.

As an example, here are my Own views about the thriller:

1. The thriller portrays persons confronting problems they can't solve by recourse to established institutions and agencies; calling 911, or a psychiatrist, won't help matters in the slightest.
2. The problems not only threaten the characters' physical and mental safety, they threaten to bring down the society they live in: their families, their communities, their nations. This is what is at stake in the story, and should appear as soon as possible.
3. The solution to the characters' problems usually involves some degree of violence, illegality, technical expertise, and dramatic action, but not more than we can plausibly expect from people of the kind we have chosen to portray.
4. The political thriller portrays characters who must go outside their society if they are to save it, and the characters therefore acquire a certain ironic quality. They must be at least as skilled and ruthless as their adversaries, yet motivated by values we can understand and admire even if we don't share them.
5. The disaster thriller portrays characters who are either isolated from their society or who risk such isolation if they fail. That is, either they will die or their society will fall (or both) if they do not accomplish their goals. In the novel of natural disaster, the disaster comes early and the issue is who will survive and how. In the novel of man-made disaster, the issue is how (or whether) the characters will prevent the disaster.
6. The characters must be highly plausible and complex; where they seem grotesque or two-dimensional, we must give some valid reason for these qualities. They must have adequate motives for the extreme and risky actions they take, and they must respond to events with plausible human reactions. Those reactions should spring from what we know of the characters' personalities, and should throw new light on those personalities.
7. The protagonist's goal is to save or restore a threatened society; it is rarely to create a whole new society. In this sense, the thriller is usually politically conservative, though irony may subvert that conservatism.
8. At the outset the protagonist only reacts to events; at some point, however, he or she embarks on the counterthrust, an attempt to take charge and overcome circumstances.
9. The progress of the protagonist is from ignorance to knowledge, accomplished through a series of increasingly intense and important conflicts. These lead to a climactic conflict and the resolution of the story.
10. With the climax the protagonist attains self-knowledge as well as understanding of his or her circumstances (or at least we attain such knowledge). This knowledge may well create a whole new perspective on the story's events and the characters' values: A murder may turn out to have been futile, or loyalty may have been betrayed. We should prepare for these insights early in the novel, so that the protagonist's change and development are logical and believable. 
    

 

Except from "Advice on Novel Writing by Crawford Kilian."

 

 About the Author 

Crawford Kilian was born in New York City in 1941. He moved to Canada in 1967 and now resides in Vancouver B.C. Crawford has had twelve science fiction and fantasy novels published. He has been nominated for an Aurora Award 3 times for his novels Eyas, Lifter and Rogue Emperor- A Novel of the Chronoplane Wars. His latest contribution to SF is a non-fiction book for would-be SF writers called Writing Science Fiction and Fantasy. Crawford has two more novels in the works.

To learn more about him at Wikipedia.

 

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Crawford Kilian Books at Amazon

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