Tag Archives: writing tip

Storytelling Techniques from Babylon 5: Main Plot versus Sub-Plot

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This is part of a series about storytelling techniques for epic fantasy. I’m drawing my examples from the 1990s sci-fi TV show Babylon 5. If you’ve never seen it, that shouldn’t affect the validity or usefulness of my storytelling tips. If you do want to see the show, you can probably find it on Netflix or the DVDs on eBay.

The plot of Babylon 5 was told over five television seasons and a few TV movies. Never mind the ‘90s hair and CGI that’s outdated by today’s standards. The story itself was a sprawling epic fantasy with a space-opera setting, a story that spanned thousands of years and dozens of characters. J. Michael Straczynski was the mastermind behind this dramatic tale of humans and aliens, ancient prophecies and futuristic empires, villains and heroes.

Plot is essential for any story, and most stories feature sub-plots or side threads that run along with the main plot. This is especially true of epics, as this format is defined by its length and complexity.

There are no hard and fast rules about how many sub-plots a story should have, how long each one lasts, etc. But in general, what I have found is that the best way to handle sub-plots is to: a) make sure they relate to the main plot in some way, and b) make sure they don’t detract from the main plot.

Main Plot

When you sit down to write a story, you should have at least some idea of what your main plot is going to be. Even if you’re a pantser, and you have to write two-thirds of the book to discover your main plot, that’s okay – when it’s all over, there’s still one main plot.

The main plot of Babylon 5 is war encroaching on peace. The very first episode begins with an assassination attempt and a surprise attack. Even as the series winds down in “Objects at Rest” – the last episode before the finale – there is conflict. War is the main plot of Babylon 5’s epic story.

The main plot should be introduced fairly early on. Even in an epic story, where things can be expected to take longer to develop, the main plot should be apparent within the first few scenes. You don’t have to begin with a bang the way Babylon 5 does, but if you’re a third of the way into your tale and are still in intro mode, some revising might be in order.

Sub-Plot

Most every story has a sub-plot or a semi-related side plot. Epic fantasy – because of the length and the conventions of the genre – is a great place to explore multiple plot threads. Babylon 5, being a five-book series, after a fashion (each season was like a complete book, with the episodes as chapters), was filled with sub-plots.

Each season (or “book”) had its own plot. Season 2 – called The Coming of Shadows – focused on the approach of war, with its rumors and threats and darkening mystery. And by season 5 – The Wheel of Fire – two wars had been fought and won, yet the struggle for peace and unity proved to be a war of a different sort. All of these individual plots fall under the series’ main plot of war.

And of course, within each season’s sub-plots were smaller plots: the Mars rebellion, Byron’s telepaths, the madness of the Centauri emperor Cartagia, Dr. Franklin’s struggle with addiction, and on and on.

The key here is that all of these sub-plots are related to and are influenced by the season (or book’s) main story, and the overall series story. It is also important to note that a sub-plot – even an important one – should never completely take over the story. If you’re writing and you discover that your sub-plot is becoming the main plot, there’s nothing wrong with that as part of the writing and discovering process. Just make sure that you eventually figure out what your main plot actually is – even if it turns out to be that storyline formerly known as the sub-plot.

Side Threads

A side thread, as I call it, is smaller and less important than a sub-plot, but it’s an element that adds richness and dimension to the fantasy world of a long epic. Babylon 5’s story is rich with side threads: Garibaldi and Lennier building the old-fashioned motorcycle, Sheridan and Delenn’s multiple dinner dates and adventures with eating flarn, Rebo and Zootie’s periodic visits to the station, and so many more.

The scene involving Sheridan’s less-than-perfect attempt to cook flarn for Delenn had nothing to do with the main plot of the episode, the season, or even the entire series. The Shadow War coming to a head – the main plot of season three Point of No Return – could have been told without Delenn politely choking down Sheridan’s cooking. But that little side thread added another layer to those two characters, and provided a moment of humor in a high-tension story.

Think of side threads as a form of world-building and character development. The little things are the foundations of life – in reality and in fantasy. You can help your readers (or viewers) buy into your world and your story by adding in those little side threads.

What are some of your favorite main plots, sub-plots, or side threads in stories?

Creating Fantasy Creatures and Alien Species – Real Animals as Magical Races

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In a previous post on this subject, I gave some tips for creating convincing and relatable creatures to populate a fantasy or sci-fi world. In this post, I will continue in that vein, but I will come at it from a slightly different view – that is, using animals as characters in your story.

This post is not about creating fantastic new monsters or magical animals, though I might do a post on that later. This is about using familiar, “real” animals as sentient characters or races. While the practice of having sentient, anthropomorphized animals in fantasy is not especially common – except perhaps in children’s books – it can be a valid fantasy storytelling element even in YA or adult fiction.

In my previous post about creating fantasy races, I emphasized two key points in creating believable creatures: elements that make them human, and elements that make them non-human. Both, I believe, are necessary to create convincing, well-rounded fantasy creatures.

The non-human element is probably obvious – you as a writer are seeking something different, something besides just another fantasy kingdom filled with humans. Whether they are Klingons or Elves, the “otherness” aspect is part of the point of fantasy.

But equally important is the human element. There must be some way for the human reader – if not the human characters – to relate to and understand this magical race of “other” in your story. Some common ground should be there – even if the point of your story is the search for that common ground. You can write about Klingons all day long, but always remember that your readers are human.

So how does this work if you want to imbue real animals with magic and use them as the “other,” the alien race? To illustrate how this can be done, I’ll use examples from The Chronicles of Narnia by C.S. Lewis, and His Dark Materials by Philip Pullman. (While both of these series might be considered YA or even children’s literature, they are stories that are complex and mature enough to be enjoyed by adults).

What are the qualities that make them non-human?

In my previous post about creating fantasy species, I discussed three main categories to consider: physical traits, emotions or mindset of the species, and the general culture.

In the Narnia books, there are plenty of non-human creatures – and some of the most non-human of all are the Talking Beasts. The badgers, bears, mice, and dogs that have human speech and mannerisms are perhaps more alien than the fauns and centaurs and gryphons. Though they live in harmony with humans, they are very much non-human.

The physical is the most obvious, of course. Even though some Talking Beasts can walk on their hind legs and wield tools (like the heroic mouse Reepicheep), they are very much animal in appearance and behavior. No cartoony animals in cute clothes in these stories. Each species still behaves according to their animal nature as far as attitude and mindset – the fiercely loyal dogs, jittery hyper squirrels, gentle and aloof deer.

While the humans fight wars, voice their opinions, and rage against Aslan in the name of free will and progress, the Talking Beasts don’t change. Their steadiness of behavior and belief sets them apart from every other sentient race in Narnia.

They love and respect the humans, but the Talking Beasts are quick to remind everyone that they are most definitely not human, and are not trying to be in any way. The Talking Beasts are proud of their Otherness. The magic of Narnia makes them more than mere animals, but they never will be human – and they want to keep it that way.

What are the qualities that make them human?

As I mentioned before, some human elements are needed in your magical animal race if you want your human readers to relate to them at all. Even if the “otherness” is part of the point of your story, having at least some common ground can help to emphasize all the elements that make them non-human.

In Philip Pullman’s books (The Golden Compass, The Subtle Knife, The Amber Spyglass), the Panserbjørne (Armored Bears or Ice Bears) are at first appearance very animalistic and “other.” These Bears tend to shun human contact, but they are master craftsmen and metal workers. Their physical dwellings and societal structure are more human than animal, with their castles, metal armor, and sense of honor.

The Ice Bears, though emphasized as different and “other,” experience the very human emotions of fear and shame, hatred and love. The Bears have a king and their own laws for their kingdom. Almost the opposite of the animals in Narnia, who live in their natural habitats in the wilderness, the Ice Bears depend on their created laws and their skill with tools to hold their society together.

While the Bears and the humans have reluctant contact at best, until the plot of the story forces them together, the two species have more in common than each one believes at first. The Bears are animals and the Bears are Other, but just like humans, they hate and love and will fight to preserve their world.

Animals as sentient races and important characters can be a valid storytelling element for YA and adult fantasy, I believe, as shown by these examples. Always key is the human element, and the non-human element.Whether it’s a sword-wielding mouse, an armored polar bear, or some other animal, choose your beast and go create some magic.

How to be a healthy writer

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The blogosphere is full of tips about how to write better, and full of tips about how to be healthier. But what about being a healthy writer? How can wise food choices help you write better?

I’m no doctor, but here’s what I’ve observed, just through personal experiences, and some amateur nutritional knowledge of my own.

Drink more water. Yes, as writers we live off of caffeine. I mean, how else can you survive NaNoWriMo without guzzling coffee or twelve million energy drinks? But caffeine is actually dehydrating. Just as the body functions better when fully hydrated, so does the brain – which is of course an essential tool for writers. Don’t like plain water? Improve the taste with drink additives (watch out for sugar and chemicals in some brands, though). Or keep it simple by adding a slice of lime or some sprigs of mint to a glass of water.

Take a multivitamin. But not just any multivitamin – you probably won’t get anything from a cheap brand of synthetic vitamin from your local big box store. Invest in your future – your future as a healthy person and a prolific writer – by buying a vitamin made from whole plants, and preferably organic. Even if your diet is full of all the right foods and none of the bad ones, you’re still probably not getting every mineral and piece of nutrition that your body needs to function at top performance. Feed your body the right foods with a plant-based natural multivitamin, and you’ll have long-term energy to keep you writing longer.

Exercise. I know – you’re too busy writing (and working, and just doing regular life) to exercise. But even a few minutes of extra movement every day can add up. Take breaks and move your body. Even mild exercise like going for a walk helps your blood flow better, your joints work better, gives your eyes a break from the computer screen, and can even help your brain work through that next scene that you’re totally stuck on.

Eat regular meals and snacks. Again, something that’s hard for anyone – writer or otherwise – to do. Crazy schedules beget crazy eating schedules. But if at all possible, figure out how to work in several small meals and snacks throughout the day rather than one or two huge meals and binge snacking. Eating smaller amounts frequently helps keep your blood sugar and metabolism steady, which results in less weight gain and better overall health.

Make the time. None of these things have to take much extra time – but they do take extra thought and discipline, at least at first. Make yourself drink some ice water during your after-dinner writing session instead of one more caffeinated drink. Set your vitamins out on the table the night before so you’ll take them with breakfast the next day. Get up from your desk every hour on the hour and take a six-minute walk. Sit down to write with a snack of raw veggies.

Put a sticky note on your desk or set a reminder on your phone – whatever it takes to make these changes into new habits. Your body and your writing will thank you for it.

How to be Annoying on Social Media in Five Easy Steps

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I read a lot of blog posts and articles about how to properly utilize social media to share and promote your content. Since I’m a big user of social media myself (this fabulous blog, my Facebook, my Twitter, etc.), I thought I’d make a contribution to the how-to’s of social media etiquette – with a little twist.

So in no particular order, here are five sure-fire ways to annoy your followers and alienate your readership. If you’re tired of the decent or even excellent success you’ve been having with your social media, then try these tips to make everything worse.

  1. Write in ALL CAPS. All capital text is the type-written form of shouting, and shouting for no good reason drives people away by the hundreds. Why save all caps for only URGENT STUFF when you can confuse and irritate your fans by making EVERYTHING SEEM URGENT?
  2. Post at least once a minute. Posting every fifteen seconds is even more obnoxious, so try that. If your tweets are constantly in your followers’ newsfeed, or your emails filling up their inboxes, they’ll never forget your name – even if they now hate you.
  3. Send direct messages only. Direct or private messages on social media, especially to people you don’t personally know, is what all the best spammers do. No communication gets ignored faster than a DM (direct message) from a stranger on Twitter or YouTube.
  4. Never respond to comments or tweets. This lets all your fans know that you’re much too busy doing important stuff or other sorts of marketing to bother chatting with them in an informal manner.
  5. Never share other people’s content. You’re on social media to promote your product or service, right? Sharing posts from other profiles or websites lets your followers know that you value others’ content and enjoy learning from everybody. Make sure you let everyone know what a self-centered egotist you are by making all your social media posts all about you.

So there you have it – five simple ways to become that person that nobody likes on Facebook or Twitter.

Just remember that if you actually want to gain fans and make positive connections, do the opposite of these and you’ll be soaring high with your social media!

The Nitty-Gritting of Writing: Fewer versus Less

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“Fewer” and “less” – I often see these two words used interchangeably. While they both have to do with amounts and numbers, they should not be sued as exact synonyms of each other. “Fewer” is used for plural nouns, and “less” is for singular nouns.

Here’s what I mean:

Fewer

“The lake was empty today – I saw fewer than ten boats all day.”

Boats is plural, and so the plural modifier of “fewer” should be used.

A way to remember this is to use the word “few” with the noun you’re wanting to modify. Would you say “There are a few boats on the lake today”? Yes – therefore, “fewer” is the correct choice rather than “less.”

Less

“We got less snow this winter than we did last year.”

The word snow, though it can be a collective or mass noun, is singular.

If you were to use “snowflakes,” however, the modifier would be “fewer,” because “snowflakes” is plural.

“Fewer snowflakes fell today than yesterday.”

“Less snow fell today than yesterday.”

In everyday usage, “less” is used for everything. Ever go to a supermarket and see the “10 items or less” express lane? Items is plural, so “fewer” would be the accurate word to use in these signs.

But as I like to remind readers – despite these grammar police posts that I do periodically, I understand that everyday conversational English is not the same as proper written English. If you’re chatting with a friend and you say something about “less emails,” don’t stress about it.

However, if you’re writing an article or a school paper or giving a public speech, check your nouns before you choose your quantitative modifier.

Remember, less is more.

And proofread so you have fewer mistakes.