Tag Archives: Walter Mosley

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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Reading Potato Chips

Today I broke away from my computer and headed off to the local bookstore. I had three books on my list. One was Jim Butcher’s latest–SKIN GAME. The other two were baby books–GOODNIGHT MOON and something with LLAMA in the title.

I had a yard-long list of errands to run today. My plan was to whip into Barnes & Noble, grab the books, and whip out.

Ha! Like that was going to happen.

There’s a reason I don’t let always let myself browse in bookstores. Today, despite my hurry, once I hit the board book section (“Books for Little Hands”), I was a goner.

Years ago, I collected picture books. I sought out certain illustrators and went for the lavish, ornate ones. Before I knew it, I had a whole bookcase full of these marvelous stories. Eventually I moved to a house where there just wasn’t space for them. With great reluctance, I pared down my picture books to a cherished few and donated the rest to an elementary school.

Today, well aware of the pitfalls in the picture book section, I headed straight for the board books like a race horse wearing blinders. (Do not walk by the picture books. Do not check out the new arrivals in the YA section. Don’t peek at the middle-grade stories. No, no, no!)

I didn’t even have to scan the board book spines. The Llama books and GOODNIGHT MOON were prominently displayed as the bestsellers they are.

Now, I’m fully aware that GOODNIGHT MOON has been captivating kids forever. It’s mega-popular, and all new parents-to-be request it. It’s probably been read at more bedtimes than any other twentieth-century story I can think of.

Alas, I’ve never cared for it.

That’s not to disparage the book. It wasn’t written for me. I know it has huge appeal for its intended readership. Even so, I plucked it from the shelf, glanced at its pages, read its gentle text, and then put it back on the shelf. Why? I wasn’t buying it for me. All I had to do was buy it as a gift and be done.

But no … I next picked up a book that I used to own as a picture book. Even abridged for the board-book set, THE NAPPING HOUSE remains charming. Once I peeked inside, I was lost. I forgot my long list of errands. I forgot time. I had to look at more!

I browsed through little books about freight trains and dump trucks and caterpillars and polar bears and dancing hippos. I looked at puppy books and counting books and books with plots. I skimmed through books with colors and books with concepts but no words.

A friend of mine had told me PRIDE AND PREJUDICE was now in board-book format. It’s a counting book, very clever.

But I also found ROMEO AND JULIET. Really? And, perhaps most astonishing of all, THE HOUND OF THE BASKERVILLES. For babies? Come on!

I had to open it, and it was all dark, brooding gothic illustrations and single-word pages. For example, one spread had a dark silhouette of a grandfather clock on the left page and huge bold letters on the right, spelling out “Ticking.” It wasn’t an abridgment of the story. It was just concepts.

Weird.

I didn’t look at ROMEO AND JULIET, but now my curiosity is afire and I wish I had.

Of course, I realize that these adult classic tales have been designed to delight the parent or grandparent or fond auntie who will buy it and present it to an eleven-month-old who could care less.

Even so. I was suddenly glad to go back to weighing the merits of THE RUNAWAY BUNNY versus a charming tale about a giraffe who learned to boogie.

Before I knew it, an hour had flown by. I had a hefty stack in my hands because how do you stop with just one of these charmers?

Problem was, I needed one gift, not a dozen. But buying books is like eating potato chips. How do you stop?

With great reluctance, I finally made my choice. I pushed my way out of the kids’ department, yet somehow on the way to the checkout stand I happened to walk past the mystery section. All the new cozies were faced out. Puns for titles were in full array.

Did I want to read about cat mysteries, dog rescue mysteries, or home improvement mysteries? What about mysteries set in libraries, quilt stores, knitting stores, coffee shops or bakeries? Did I fancy a new Alan Bradley or any of the new Alexander McCall Smith titles? What about Walter Mosley or James Lee Burke? I wanted them all!

Can you tell that I’ve been just a wee bit bookstore deprived lately?

I went in with a list of three titles. I came out with a sack-load of eight, along with the names of several authors unknown to me that I want to investigate further.

Where does it stop? How does it end?

When the checkbook–and the potato chip bag–are empty.

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