Tag Archives: Raymond Chandler

Building Urban Fantasy — Part III

When it comes to plotting an urban fantasy story, keep in mind that you need more than just a weirdly cool setting and a character waving around sparkles of hocus-pocus.

Urban fantasy has roots that reach into both horror and film noir. Let’s deal with them separately:

Make It Criminal

Noir means dark and gritty, with shades of gray in the protagonist and shades of gray in the villain. Everyone has a dark past or has made mistakes or has weaknesses. No one is all good or all bad. If you’re still not clear about what noir is, then read the mysteries of Walter Mosley or Raymond Chandler. Watch some of the great film noir classics to get a feel for the flavoring your story needs. I recommend one of the best noir movies ever made–DOUBLE INDEMNITY from 1944. Written by Billy Wilder and Raymond Chandler, the film is based on a James M. Cain novel of the same title. It features an insurance agent seduced by a beautiful woman into helping her murder her husband so she can collect on a life insurance indemnity clause.

In crime plots, if the villain’s identity is known from the beginning and the plot is focused on stopping this individual from continuing evil deeds, then we call this type of story a thriller. And thrillers require lots of action and danger; in other words, chills and thrills.

On the other hand, if the identity of the villain is hidden and if the protagonist is trying to determine the identity of whoever is behind the crimes, then the story is a mystery. That means investigating the situation through the protagonist asking a lot of questions, checking information, thinking, reasoning, and deducing. Mysteries have less dramatized violence than thrillers. Crimes still happen, but off-stage.

Urban fantasies generally feature crime plots. Which is why you need to understand how mysteries and thrillers work if you’re going to write this type of fantasy. The chief difference will be found in the presence of magic and the occult. But there will be criminal activity. There will be a force of evil seeking to gain from those crimes. There will be victims–some deserving of disaster, others innocent. There will be someone determined to end the crimes and save the day, even if it’s only to personally survive.

Whether you shape the story as a mystery or a thriller–and choosing which approach you’ll take will help you determine the events you’ll include–there’s a third option if you feel adventurous. And that is to combine mystery and thriller elements together. Generally in a combo plot, the mystery investigation will come first until the villain is identified in the book’s center. Then the pace will pick up with exciting chases and thrilling fight scenes filling the second half of the story.

 

Bring on the Horror

Besides the crime-centered plot, urban fantasy needs to deliver the atmosphere and mood of horror. To do this, it can feature the following elements drawn from the horror genre:

Shock–This will come through surprises, threats, and/or plot twists.

Atmosphere–There should be a dark, brooding tone, which can be achieved through the setting details and coded language. Can we say Edgar Allen Poe?

Coded language–This means special vocabulary chosen to reflect the desired imagery. It is sometimes known in erudite circles as diction.

Most genres have their own coding, and such language will be familiar to their fans.

Here’s an example of description employing coded language:

Drake flitted from shadow to shadow along the deserted alley. Out in the street, most of the lights had been shot out long ago, leaving vast pools of night undisturbed. Spiky weeds grew through cracked, broken sidewalks. Rusted hulks of abandoned cars–wheels long since stolen–rotted where they’d been left. The air smelled lightly of sulfur.

Do you see how every adjective has been chosen to stick with a dominant image? Do you see how this description is laden with atmosphere and mood?

Is this passage subtle? Nope. Coded language isn’t supposed to be. Just ask Mr. Poe.

Danger–This element should pervade the story. It keeps the tension high and the outcome of the story less certain.

A sense of danger is established if threats to the protagonist or other characters are real. Victims are attacked, injured, and possibly killed. The protagonist is also in harm’s way. If the supernatural villain stays hidden, then its minions are actively attacking the protagonist or those the protagonist cares about.

Gore and violence–These go along with danger and real threats like tomatoes and basil, but generally in urban fantasy they are presented only as an aftermath to violence not shown.

Because urban fantasy isn’t as intense as horror, the gore will usually be presented obliquely through how a victim is found and what’s been done to it. The actual violence isn’t dramatized through scene action while it’s occurring.

In Jim Butcher’s novel, Storm Front, protagonist wizard Harry Dresden is called in by human homicide detectives as a consultant. Two victims have been found in a hotel room, apparently killed by supernatural means. Their chests have been cracked open and their hearts removed.

As a crime scene, it’s dreadful and shocking, but because readers do not see the crime committed in moment-by-moment story action, it is less horrifying than it might otherwise be.

What’s at Stake

The final aspect of urban fantasy that I want to address in this series of posts has to do with the scale of the stories.

In traditional, high, epic fantasy, the whole world may be at risk. Vast armies are often pitted against each other. It is Good (capital letters) versus Evil (capital letters). If the side of Good should fail or be vanquished, DOOM will encompass the world and all will be lost forevermore.

However, in urban fantasy, the scale of the story situation is smaller. A few people are endangered, but not everyone. We have a mostly good (lowercase letters) protagonist versus a pretty bad (lowercase letters) villain.

In other words, the protagonist–perhaps with a few companions or allies–is trying to stop the supernatural menace. If the protagonist should fail, he or she will probably die or be enslaved, but the entire world as we know it won’t end. It’ll just be a bit worse than before.

Lesser stakes than traditional fantasy doesn’t mean a lesser story. After all, the life-or-death struggle of a lone hero against the Houston vampire queen means a tremendous amount to that hero. And readers bonded with that protagonist will care deeply and intensely about what happens.

 

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The Happy Angler

I’m pretty sure we all realize that it’s not enough to catch a reader in the opening line. You can hook a fish with an attractive lure, but that fish can slip its hook and get away if you don’t pay attention. Same thing with readers.

Over this past weekend, between bouts of Olympic action, I watched one of my favorite classic screwball comedies: LIBELED LADY, 1936. It has a super cast: William Powell, Myrna Loy, Spencer Tracy, and Jean Harlow. I won’t go into the plot, but my favorite part of the movie is where Powell’s character is trying to impress Loy and her father and gain their trust. He goes fishing with them, pretending to be an expert fly fisherman, even though he really knows nothing about the sport. Separating himself from the others, Powell positions himself upstream where he can’t be observed. He makes a couple of casts, and surreptitiously looks at his handbook on fishing that he’s hidden in his creel. When a trout snaps his lure, he’s suddenly floundering around in the water with no idea of how to play the fish or reel it in.

[Powell was an actor able to handle dramatic as well as comedic roles. In this film, he displays an ability for physical comedy that’s equal to Cary Grant’s. But I digress.] 

The method is to give the fish enough line to swim and thrash about until it’s tired. Then you reel it in until it resumes its struggle. That’s when you give it line again. Reel in a fish that’s not exhausted and can still fight you hard, and you run the risk of breaking your line. Give too much line to a strong fish, and it will perhaps yank both rod and reel from your hands. Then you’ve lost your equipment and your catch–which is what happens to the character Johnson in the Howard Hawks’s 1944 film TO HAVE AND HAVE NOT, staring Humphrey Bogart and Lauren Bacall (with William Faulkner as one of the screenwriters). Johnson is marlin fishing. He’s brash, stupid, arrogant, doesn’t know what he’s doing, and refuses to be instructed.

Now–to get out of the water and back onto the page–you hook your reader in the opening sentence or paragraph of your story. But then what do you do?

Are you going to lose your reader midway through Chapter 1? Will you lose your reader in the first four chapters? Last night, I starting reading a Robert Crais mystery. I made it to about Chapter 5, but this morning I picked up Raymond Chandler instead and am having a much better time.

Our mission–should we choose to accept it–is to entice, trick, beguile, and intrigue readers into staying with us from start to finish. It’s our job to make readers willing to keep turning pages.

How do we do that?

*Great Plot

*Intriguing & Sympathetic Characters

*Quick but Varied Pace

*More Hooks

I’ll discuss each of these in turn in the series to come.

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