Tag Archives: writing tip

Where do you get your ideas?

Posted in Music, Movies, and other Muses, Writings about Writing by

Speaking just for myself, I’ve always found it odd when someone asks me where I get my ideas. I get my ideas from everywhere, from life all around me. A song, a conversation with a friend, a scene in a movie, a picture on the wall, a tree, my pet rabbits, a rumpled pillow on a sofa… Anything and everything is fodder for ideas.

For me, ideas—whether they be plot ideas, character ideas, or something more ephemeral—hit me at random times, from any sort of random prompt. I’ve got a notebook full of story ideas. So I have never really had the problem of thinking “I want to write, but I don’t know what to write about.”

Even so, I often feel uninspired, and sometimes a writing prompt of some sort can help jumpstart me back into the process. My primary go-to writing prompt is music of some sort, but pictures often help, too. So here are some pictures that can perhaps help you to jump-start those creative thoughts.

A pen and a notebook. What will you write?

A pen and a notebook. What will you write?

Something's about to happen here...

Something’s about to happen here…

What a cute wee door! Who lives here?

What a cute wee door! Who lives here?

A lone man and a great wide view. What does he see?

A lone man and a great wide view. What does he see?

Funny name for a train platform...oh, wait, some other author already used this one...

Funny name for a train platform…oh, wait, some other author already used this one…

What song is he playing?

What song is he playing?

Tree creature

Tree creature

There's gotta be a good story behind this one!

There’s gotta be a good story behind this one!

What kind of stories did these pictures prompt for you? Please share in the comments, or even share a link to your web page where you’ve posted your ideas!

(Feel free to copy or repost these pictures, but PLEASE give me credit by linking back to this blog. That’s not only the properly legal thing to do, since I took all of these pictures, but it’s also the ethical thing to do. And the law and ethics so rarely coincide these days!)

Storytelling Techniques from Babylon 5: World-Building

Posted in Babylon 5, Writings about Writing by

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.

I wrote a two-part post some time ago about world-building for fantasy and sci-fi. Like any good epic, Babylon 5 has a complex fantasy world to build—so here are some more tips for building the world for fantasy.

1.       Don’t build the world all at once. Introduce information at a natural pace.

In other words, avoid an info dump. If you’re writing something long and epic, there is plenty of time to introduce important information. Even with a shorter work, no reader wants to spend pages of exposition reading a textbook entry about your amazing fantasy world.

Babylon 5 begins with a bare-bones intro to the world. The audience learns that the setting is a space station in the future. Through action and dialogue, the main characters are introduced, and the main alien races of the series all make a brief appearance. Emphasis on brief. The story—and the setting—begins in the middle of the action (see the post about how to begin an epic.)

During this five-year-long epic, the world is developed, personal back-stories are revealed, alien cultures, languages, and technologies are explored. In real life you don’t learn all about a person or a place or a new situation in thirty seconds, so don’t make your audience try to learn this way, either.

2.       The little details can enrich the world and make things more believable.

As you’re building your world at a natural pace, and putting in the big points, don’t neglect the small, easily-overlooked details.

For example, in Babylon 5 it is vastly important to the plot and the environment of the fantasy world that humans and Minbari used to be at war. This fact is introduced right away to set the tone of cultural tension and shaky peace. However, it’s the little details that are tossed in throughout the series that shape the Minbari into something much more than just “the aliens who used to be at war with Earth.”

Details add flavor, like adding spices to food. Details like Minbari beds being at a forty-five degree angle instead of flat, or a throw-away line by a supporting character about a Minbari city that is carved entirely out of crystal.

How about other world-building details? Like the detail about cities on the Drazi homeworld having streets too narrow for any vehicle to travel on. And Narns are apparently marsupials (or something similar), because they refer to their children as “pouchlings.” And the colonists on Mars have their own baseball team, which competes in a futuristic World Series.

Are any of these details vital to the overall plot (or even supporting plot threads?) No. But they add depth and character to the fantasy setting. Just like real life, the best things are often found in the minutia.

3.       Be consistent!

This is the most important thing. All of the good pacing, character development, enticing details, and general creativity falls flat if you’re not consistent.

No writer is perfect, and the longer the story, the more details there are to keep track of. Even in Babylon 5, there are a few inconsistencies—like the slight changes in some of the alien make-up during the early episodes.

But overall, the world of Babylon 5 is consistent, and that is part of what makes the story so engaging. If a character dies, they are not forgotten about two episodes later. Each alien race has a distinctive and unique look to their space ships, so the audience always knows who is who in a space battle. The Narn language is written from right to left, and every time G’Kar is seen with a pen in hand (which is frequent, since the character is a writer), he is making his notes from right to left. Even the Minbari’s slanted beds make the periodic appearance right up until the very end of the show.

What are some other world-building do’s or don’ts that you have seen in your favorite fantasy or sci-fi epic? Comments are welcome!

Storytelling Techniques from Babylon 5: Foreshadowing

Posted in Babylon 5, Writings about Writing by

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.

Foreshadowing can be used in any sort of story—not just epic fantasy or sci-fi. Foreshadowing means to show or suggest something in advance, to leave hints and clues for something coming later. Here are three aspects of foreshadowing that are used in Babylon 5, and that can be used in a saga or series that you may be writing, too.

1.       Foreshadowing can be subtle and easily forgotten.

In a long saga or a series, foreshadowing can be taken to an extreme—something mentioned on page three may not prove important for another 800 pages. While this can be exciting for the reader, if they catch or remember that detail, the foreshadowing can easily be lost if too much time passes.

In the first season of Babylon 5, a Centauri seeress comes to the station. She gives several prophecies, including a prediction that the space station will be destroyed in fire. When the station doesn’t blow up immediately, everyone relaxes and scoffs at her prediction. The character never appears again, her prediction is not mentioned again, and the whole thing is quickly forgotten by the audience and the characters.

Until the final episode of the series. The story of the last episode takes place twenty years later, and Babylon 5 is destroyed in fire—but not in the way that everyone expected years before when the moment was foreshadowed.

2.       Foreshadowing can be emphasized by repetition.

An example of repetitive foreshadowing is the telepathic character Lyta Alexander. Periodically during the course of the series, references are made to the fact that Lyta is a P5 telepath, meaning she ranks with just average strength and skill. This emphasis on her “average” ranking foreshadows the ending of the series, when Lyta has changed into a telepath stronger than a P12 (the highest ranking of strength and skill).

It’s important to note with this repetition technique, it still must be subtle. Characters comment on Lyta’s “average” P5 ranking only a handful of times—both before and after her powers start to change and increase. This is just enough to remind the audience that Lyta is either a) normal at the time, or b) ceasing to be normal. It serves to get the audience’s curiosity up about Lyta without making her the focal point of every episode and without beating the audience senseless with obvious clues.

3.       Foreshadowing is not the same thing as prophecy.

Destinies, prophecies, visions, and time-travel are often staples of sci-fi and fantasy. And while these story elements can be used with foreshadowing, it is not the same thing always. My first example did involve a character giving a prophetic vision; however, it served as effective foreshadowing because neither the character nor the vision appeared to be important at the time.

If the main plot of your epic fantasy is about an old wizard who tells a vision to the young farm boy and says that the gods have chosen him to be king and it’s his destiny, that’s not foreshadowing. In that example, prophecy and destiny are the plot, not a clue or hint leading to one specific element of the plot.

In Babylon 5, the storyline involving the Babylon 4 space station relied heavily on not only time-travel, but prophecy and destiny, as well. Both Captain Sheridan and Delenn are told by the alien Zathras that they have great destinies, and Commander Sinclair’s great destiny (which had been foreshadowed earlier in the series) is revealed. But that storyline is not foreshadowing, because destiny, prophecy, and time-travel is the plot.

Foreshadowing can sometimes be tricky, especially in a long tale. Hopefully these guidelines can help you if you’re wanting to utilize the technique. Read some of your favorite stories over again, paying attention to the little details that turn up later.

What are some other good stories that use foreshadowing without it being either too subtle or too obvious?

“The future is all around us, waiting, in moments of transition, to be born in moments of revelation. No one knows the shape of that future, or where it will take us; we know only that it is always born in pain.”
-G’Kar, “Z’Ha’Dum”

Storytelling Techniques from Babylon 5: Character Development – the Power of Two

Posted in Babylon 5, Writings about Writing by

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.

All the Characters

Babylon 5, like any good epic, has a huge cast of characters. Minor characters add spice and realism to scenes, and the supporting and main cast take turns in the spotlight as plot threads weave in and out. But even in an epic saga with a large cast, there are usually just one or two main protagonists. This is the character who has the most to lose, for whom the stakes of the story matter the most.

In Babylon 5, the two main protagonists are John Sheridan and Delenn. Coming in a close second, as the two main supporting protagonists, if I could use the term that way, are Londo Mollari and G’Kar.

These two pairs of characters exert the most affect on the overall story of the series. And just as they drive the plot, the twists of the story affect their lives more drastically than the other characters.

No character (at least, in most epics) functions in a vacuum—at some point the protagonist must interact with other characters. And this interaction fuels character development. I paired these four main characters of Babylon 5 this way because they drive the plot, and are affected by the plot, together.

Main Characters

Sheridan and Delenn’s power as a character duo comes from their love. Not only are they the main romantic lead in the story, but they have a great love for the people that they lead. Together they spearhead the war against the bad guys, and together they build a new alliance dedicated to peace. And they have to figure out how to overcome cultural differences and haunted pasts in order to have a successful marriage and raise a baby while doing all of this.

Londo and G’Kar’s power as a character duo comes from their hate. At the start of the series, these two represent the epitome of blind racial hatred. The shaky peace treaty between their two races is one of the subplots. And a force that drives the main plot is Londo and G’Kar trying to figure out how to work together for the good of entire galaxy without killing each other. Through the overcoming of their hatred towards one another they grow as characters.

Put your protagonists in a tight spot, raise the stakes, use another character to test their limits. Give your protagonist someone to love, someone to hate, something they want to do. Not every character development technique (these, or any others) has to be used, but if you’re writing a long saga, there’s plenty of time to introduce new pressures to further grow your protagonist. Sheridan and Delenn’s romance grows over the course of three seasons. And Londo and G’Kar, though eventually calling each other ‘friend,’ never do stop trying to kill one another.

Whether your epic is action-oriented or paced a little slower, whether you have a cast of hundreds or just one obvious hero, remember that other characters, not just the plot, can be the catalyst for character development.

“I am grey. I stand between the candle and the star. We are grey. We stand between the darkness and the light.” -Delenn, “Babylon Squared”

Storytelling Techniques from Babylon 5: Action versus Explanation

Posted in Babylon 5, Writings about Writing by

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.

Action is what grabs an audience’s attention. Not every moment has to be heart-pounding adventure—and in a long work like an epic, moments of slower pacing and reflection are needed. And explanations are certainly necessary—especially with a complex multi-thread plot. But excessive explanation as the set-up can lead to readers either skimming through those parts, or worse, putting the entire book aside.

Many of the story threads in Babylon 5 are done this way—action first, explanation later. A good example is in the fourth season episode “Endgame.” Several episodes before that, Captain Sheridan had assigned Lyta and Dr. Franklin to a special task on Mars, to deliver some special cargo. Sheridan’s plan could have been explained before the action was implemented—and it would have been impactful as the audience reacts with shock.

But instead, the action proceeded with no further explanation than “Sheridan has a plan” and “special cargo going to Mars.” The audience stays alert for several episodes, following the adventures of Franklin and Lyta as they arrive on Mars with their cargo.

The audience learns at the same pace as the other supporting characters in this storyline just what this “cargo” is and what the plan entails. The viewers’ response of shock is intensified because they finally get the explanation as the climax is happening.

In this particular case, the explanation—using the Shadow-modified telepaths to disable enemy ships without destroying them—would have built anticipation as the audience waited to see those details played out. But told this way, the anticipation is much greater as the audience first finds out that the “cargo” is cryogenically-frozen telepaths, then waits some more to find out why Franklin and Lyta brought them to Mars. The mystery is part of the excitement.

Not every plot twist or climactic scene has to be done this way. In fact, a good balance of explanation-then-action and vice-versa can keep the audience from getting bored or predicting the next scene. Complicated epic plots require some degree of explanation—but mixing up the timing and method can be another way to keep readers engaged and wanting more.