Is a Lack of Profanity in Fiction a Sign of Weak Writing?

Earlier today, I had an experience in one of my Creative Writing classes that I have chosen to share. It was in playwriting class, and it was my turn to be workshopped. While the majority of the class took no notice to the fact that my play had zero profanity in it (rude words yes, profanity no), one student felt it was odd that my play’s cast swore none of the time at all. To be honest, she even seemed bothered by it. So, I’ve chosen to use this experience as a means to talk about profanity in fiction.

Is it poor writing when your fiction has little to no profanity?

I don’t think so. I can only speak for myself, but the worst words I’ll use are “crap,” “heck,” and “darn.” That’s verbally, though. Occasionally, I’ll slip a real dirty one in there, but I’d be lying if I said that’s how I talk in real life. My mouth is as clean as a whistle. But that being said, I don’t think it’s a poor choice of diction to exclude certain words when you’re writing fiction or some other form of Creative Writing. I think often times, people rely far too much on profanity to get the point across.

The point is simple. If you choose to include characters that cuss, make sure every word out of their mouth counts. Too much of that stuff can reflect poorly on you as a writer. And please, don’t be so narrow-minded that you catch yourself thinking that a lack of profanity is weak writing. It’s frankly a stupid mindset, and there are plenty of writers out there (myself included) that don’t generally use language like that in their books. I won’t judge if you do it, but for Zeus’s sake, make sure every word counts.

If you like what you see, don’t forget to reblog and follow. See you guys next time.

–N.L., 2017

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The Future of Kingslayer

As everyone has probably noticed, I’ve been juggling several ideas for books for awhile now. One thing that I will say is that I’ve been guilty of this thing called “Shiny New Idea Syndrome.” Basically, when I have a brand spanking new idea, I want to see where it takes me.

But nonetheless, I’ve mentioned on Twitter and on here that I’m working on an anthology with stories tied to my novel Kingslayer (the working title being The Kingslayer Anthology), as well as an epistolary novel that centers around the main villain’s first cousin, Vensyr D’Artanian. Both of these projects are things I still want to work on, but it should be noted that with how my brain works and operates, I have to jump from one project to another on a semi-regular basis.

Rest assured, both of these projects will be finished, though it’s unlikely they’ll be out before 2019. But just know that I am a very ambitious writer, which is part of the reason it takes so long; sometimes, I bite off way more than I can chew.

Now to expand on what the future of the “Kingslayer Universe” might look like. I’m done writing typical prose novels in that universe. That is to say, I’ve got two epistolary novels (not just one) that I’d like to see in print. Epistolary, meaning written in the form of letters, journal entries, and other written documents. I did say I was ambitious, didn’t I? To my knowledge, high fantasy and epistolary don’t typically mix. Well, I’ve chosen to try it, but not until I get my anthology out.

So this is what it’s going to look like. As you know, Kingslayer is already out. My next project that I’ll probably release is the anthology; then I’ll release my two epistolary novels (books that cover much of the same events from totally different perspectives) at the exact same time. At least, it’s my goal to do that.

We’ll see if this all turns out the way I hope it will. Just know that once all these books are out, the Kingslayer series will have four very different books.

If you like what you see, don’t forget to reblog and follow. See you guys next time.

–N.L., 2017

Description for Non-Characters

In the real world, we see things. It could be anything: cars, houses, trees, the sun, the moon, birds in the sky, or dogs on the ground. For us writers, it is imperative to find a way to describe those things.

This is different than describing characters, since eye color/hair color and slightly less important features cannot be used to describe the thing. For example, a car is not a person. It has a color to its paint job, which is similar to eye/hair color, but it goes far deeper than that. What is the make and model of the car? What kind of tires are on the car? Are there dents on the frame?

You get what I’m saying? The point is, there are a lot of things to point out if you’re going to do your job properly. The most important thing to remember, however, is that there is a such thing as too much description. The car example may work if it’s from the POV of someone who knows about cars, but that same person may not be as savvy on the various sub-genres of fantasy fiction.

A book lover would know those things like the back of their hand, but a car salesman would go in and see books about magic, knights, wizards, and elves, while a book lover knows there’s a lot more to it than that.

In a nutshell, your POV character (or your narrator) will describe things to the reader as they know things. Always keep that in mind.

If you like what you see, don’t forget to reblog and follow. See you guys next time.

–N.L., 2017

World Building

In novel writing, research is key. You have to know what you are writing about before you go about writing the subject in question. But in fantasy and other genres with made up settings, world building takes the place of research, and it is the author’s job to create a world that only exists in the mind.

In order to do that properly, you have to look at things that exist in the real world and ask yourself how that can relate to a fictional one. In the real world, you have cars and other motorized vehicles, but how do people get around in a fantasy world?

Also, if you’re writing fantasy, what does the politics or the religion of people look like? Is your government a monarchy with a democratic twist? Is your religion a polytheistic version of Christianity? Also, what do the world cultures look like? In my novel, Kingslayer, I based a lot of my culture on Europe (not exclusive to England), plus I added a few hundred years so the characters could carry guns and ride airships and trains.

One of my all time favorite examples to world building is Harry Potter. In the magical world, there is a real world equivalent to pretty much everything. For sports, you have Quidditch and the Tri-wizard Tournament; for school, of course, the students focus on the magical arts as opposed to math and grammar, and instead of your ACT’s you have your OWL’s and NEWT’s; and you even have the media with The Daily Prophet.

I haven’t even touched on the Chocolate Frog Cards, so needless to say, HP is chock full of examples of world building. These are just a few ways a writer can make their world truly unique. And in fact, if you are setting your story in a secondary world, there are even more things you can do that are ripe for the picking.

If you like what you see, don’t forget to reblog and follow. See you guys next time.

A Few Things I Learned From Playwriting and Screenwriting

First of all, I know I said this post would come out yesterday, but life happened. But now that that’s out of the way, I want to discuss some things I’ve learned this semester in my creative writing program, specifically in a pair of playwriting and screenwriting classes. In one of my previous blogs, I said that my CW program hadn’t helped me as a fiction writer, and this was perfectly true, but I’d like to amend that thought and say it was mostly the fiction classes that hadn’t helped. Truth be told, if you want to be a better fiction writer, learning to write scripts is the way to go.

The reason for this is because screenwriting and playwriting dive far deeper into how stories are told. There is terminology at use in both fields (which are basically two sides of the same coin) that help the writer help to structure their character’s motivations. They are called superobjectives. These are basically what the characters are after, and every single character in your novel should have one. The bottom line is, what is their goal? In Star Wars, you can even argue that Darth Vader and Luke Skywalker have opposite superobjectives. Darth Vader wants to turn his son to the Dark Side, while Luke wants to bring his father back to the Light. In a nutshell, what does your character want?

Something else I learned about is the MDQ: the “major dramatic question.” As my professor said, it is the major question (usually asked 10% through the story) that the story depends on to be driven forward. To go back to my Star Wars example, the MDQ could be “Will Luke turn his father from the Dark Side?” It is a question that can be asked in questions beginning in how, what, when where, why, who, and so on. But according to what my prof has said, it is best asked with a “will” question.

The bottom line is that, while fiction writers will not benefit much from a CW program if they’re focused on fiction, there are other types of classes out there that will teach writers the structure of a story in far more detail. That means that classes such as playwriting and screenwriting can actually make you a better writer of fiction, depending on which university you’re going to, of course.

If you like what you see, don’t forget to reblog and follow. See you guys next time.

–N.L., 2017

Changes to Kingslayer, a novel by Napoleon Lovecraft

This is a brief update for my novel Kingslayer. As discussed in past blogs and tweets, I have created bonus content for the readers (a flash fiction narrative and one appendix), to expand more on things that are going on in the text that you don’t see due to the first person narrative.

I have also created a new cover that I think looks more professional. I’ll be republishing the book with new content and a new cover within the week.

If you like what you see, don’t forget to reblog and follow. See you guys next time.

–N.L., 2017

Update: Summer 2017

I know I haven’t been making my regular posts, but I assure you I’m not chillin’ with Tolkien, Poe, Twain, and other dead writers. I have, on the other hand, been very busy. I’ve been taking a senior-level playwriting class, after all. And before that, I was visiting my brother and his girlfriend out in the boonies of Angleton, Texas.

Several projects in a row have fallen apart–including the epistolary novel I spoke about on Twitter–but I did manage to get something else done. I managed to fully draft a piece of flash fiction, which will be published as bonus content in the back of Kingslayer with a simple update to my files (perks of self-publishing). This story actually stems from the failed prequel for my novel that never got finished, but I digress. I’m also going to be publishing an appendix in the back of the book to further explain some of the magical items in my created universe.

Something else I’ve been working on is a new cover for Kingslayer. The current one just isn’t working or getting the book noticed, so I figured a change is in order. It’ll be up soon.

Right now, novels just aren’t working for me. I’m starting to think that short fiction and flash fiction are where I need to focus my attention, until I can readjust my attention to novels again. That’s why I’m considering doing a collection of fantasy flash fiction (some of which will be from the world of Kingslayer, while others will be from entirely new worlds).

All in all, I wanted to update everyone on what I am doing so they can get a bigger picture for why I’ve been absent from the blog scene.

If you like what you see, don’t forget to reblog and follow. See you guys next time.

–N.L., 2017