World Fantasy 2019

by Matthew Lowes

At the mass book signing with Christina Lay and Stephen T. Vessels

I had a great time at the World Fantasy convention with ShadowSpinners Press and some fellow authors in the Labyrinth of Souls fiction series. Can’t say I saw much of LA, since I did not leave the Airport Marriott for three days, but the weather was nice, the conference was great, and the company was outstanding. It is truly a wonderful experience to be in the midst of so many creative and inspiring writers and artists.

The crowds gather in LA Airport Marriott

The ShadowSpinners table had a lively showing in the book room, and I had a great time answers questions about Dungeon Solitaire and the Labyrinth of Souls. I signed a few books, did a reading with fellow authors Christina Lay and Stephen T. Vessels, and managed to get to a few talks and panels. I was particularly interested to learn a bit more about audiobook production and particularly taken with the beautiful art of Reiko Murakami.

The ShadowSpinners table and chief editor Christina Lay

With another successful appearance, we are planning to make an even bigger showing next year in Salt Lake. We’ll have more books, more authors, and more games. Hope to see you there!

Art print by Reiko Murakami (available on her website)

 

Immortal’s Penance Release Day – Interview with L.A. Alber

Happy Halloween. Today on Shadowspinners, I have the privilege of interviewing author Lisa Alber on the release of her fourth novel, Immortal’s Penance, the latest in the Labyrinth of Souls novels.

IP Ebook Cover.jpg

The story takes place on the remote Isle of Man, where archaeologist Malone Wolfe has made a discovery that will ensure his reputation for years to come: a bog man of gigantic proportions. Buried in peat for millennia, the ancient man—or creature?—also comes with warnings from the locals not to disturb the faery tree that guards the site. Malone scoffs at the local lore until he is dragged into the other world of Celtic legend and condemned to a treacherous journey through a realm where faeries sting, trolls talk in riddles, bloodsuckers seduce, and nothing is what it seems.

Battered, tortured, and hunted by the bog man, Malone must face his dark past and make a harrowing choice if he hopes to survive.  Little does he know that even if he passes the four trials of the Immortals, his reward may be worse than the punishment.

Congratulations, Lisa!  This is a marvelously dark and mysterious tale.  It immerses us in a mythic place where we meet Celtic goddesses and magical creatures—and not all of them are friendly to humankind.  I was familiar with some of them, but some were new to me.  Where did you get the idea for this novel?

The idea developed organically.  I have always loved Celtic mythology and as part of my research for my mysteries, which are set in Ireland, I read up on Irish mythology. I was excited when I realized how perfectly that research could weave into and inform this novel.  I knew that I wanted to have my protagonist, Malone, endure Odysseusean-style trials in the underworld. As luck would have it, pieces of the Celtic myths seamlessly wove into the story I wanted to tell. The trials provided a great structure upon which to hang my story.

I loved the ending, by the way. It was very satisfying and totally unexpected. 

The brain is a mysterious thing. When I began, I didn’t know the exact ending, but somehow by the end, I achieved the inevitable ending—the only possible ending for Malone. That’s such a good feeling and hard to achieve.  I have a natural inclination towards mystery, and in this story, as in most mysteries, there’s a twist at the end.  When I write mysteries, I’m more interested in the “why” done it than the “who” done it, and that is true in this story too.  We don’t know why Malone is going through the trials until the very end.  I can’t get away from my mystery-writing roots, I guess!

I was fascinated by how you integrated the Tarot cards from the Labyrinth of Souls game with the Celtic mythology. It made perfect sense in the context of the story. 

Thanks! I love symbols—might go along with a love of mythology, I don’t know—and the Labyrinth of Souls cards are rife with meaning and symbology. I thought about how the four trials that Malone suffers could be symbolized by cards. The Wheel of Fortune, for example, is all about fate and this fit in perfectly with one of the trials. The Moon was another one—symbolic of the female. Malone has trouble with females in my rendition of the labyrinth, hehe.

Malone is a complex character. I like how you slowly reveal his past.

When I start the story development process, the first thing I do is develop the characters.  I want to know everything about them—understand their pasts, their motivations, what they love, what they hate, and how they respond under stress.  Then when I know the character inside and out, I am able to reveal these elements gradually as the story progresses.

You write mysteries, as you’ve mentioned. Was it challenging to write in an unfamiliar genre?

Oh, heck yeah! I learned so much. There’s definitely a difference between mystery and fantasy.  I had to learn new rules.  My experience with mysteries helped with crafting how the story ends and in bringing out the background slowly over the course of the novel, but in the first drafts the beginning was too opaque.  You want to be opaque in a mystery and not tell the reader what is really going on, but in this story, the purpose and rules of the game Malone is forced to play have to be explicit so that the readers know what’s at stake for him.

Were there other challenges?

This novella is shorter than what I usually write—less than half of my normal novel length—and I wasn’t sure how to do that when it came to the pacing. I ended up rushing the beginning and had to go back to slow it way down so that readers can get to know and care about Malone.

Another problem arose in the middle of the story, during the second trial. That trial was a puzzle and challenging because of the nature of the creature involved: a shape-shifting hobgoblin with a nasty temper and a tendency to lie. For me, stories are easy to start and easy-ish to end, but I often get caught in a muddle in the middle. There’s no real solution to that except to push through even if you know what you’re writing is dreck. You can revise later.

What a great adventure.  Thank you, Lisa and congratulations on the release of this book! Immortal’s Penance is available here.

About the Author

L.A. Alber is the author of three previous novels— Kilmoon, nominated for a Rosebud Award for best first novel; Whispers in the Mist; and Path Into Darkness, a finalist for the Spotted Owl Award. Winner of an Elizabeth George Foundation writing grant and a Walden Fellow- ship, and a Push Cart Prize nominee, you’ll most often find her lounging in bistros with red wine, laptop, and a tiny terrier at her feet. She lives in Portland, Oregon.

Discover more Labyrinth of Souls Novels here.

A Whole New World

by Amy Braun

I think it’s pretty safe to say that these days, most of us wish we were somewhere else. It’s hard to get up in the morning and realize you live in a world where absolutely absurd, cruel, and wretched things happen, and that when you do donate or speak out, it can be hard to feel like you’re contributing. I’m not saying to give up (never, ever, do that because your contributions and donations truly do matter and truly do help), but every once in a while we just want to escape this world and dive into another one.

The solution is actually quite easy and pretty cheap: Books.

As a reader, I’m a sucker for a book with an amazing setting. Red Rising, Nevernight, and LifeL1K3 are just some of the books that have drawn me in with their exquisite and visceral worlds. As a writer, creating them is something I’m addicted to.

Urban fantasy is one of my favorite genres to both write and read, and the moment I decided to write Storm of the Gods, I knew it could only be urban fantasy. But I didn’t want my setting to be like most urban fantasy worlds, where the buildings haven’t changed, the people haven’t changed, and my imagination can’t really stretch. No, I wanted to twist in new elements. I had to—You can’t exactly write a book about reawakened Greek gods and expect them to share your idea of architecture and décor.

Greek mythology is one of my oldest love affairs. I won’t claim to be an expert, but I’ve read enough to understand what would appeal to each deity. Since the gods in the Storm universe have only returned to our world thirty years ago after a two thousand year slumber that saw them reduced to fairytales, their powers are not as strong as they had been. While creating the history of this world, I knew that the gods would be divisive but need to work together to build their New Kingdom.

So I took the setting—a reimagined version of California—and broke it up into pieces for each of them and their scions, the humans who are descended from the Olympian’s lusty escapades.

From there, I changed each region to match its Olympian. Dionysus got all the vineyards. Artemis has all the forests and hunting grounds. Poseidon owns Santa Monica and most of the beaches and ocean. Aphrodite’s region is one big romantic getaway on one half, and the other is a literal red light district.

Doing this was a long, tiring process, because each region needed its own security, temples, distinct personalities and types of residents, but it was ultimately worth it. I love the world I created, and it ends up feeling like an entirely different place rather a slight deviation from normality that happens in most urban fantasy novels.

World building is one of the longest and most taxing processes in writing, but it’s one of my favorites. Whenever I do it, I feel not only a connection to the characters I’m creating, but I understand the mechanics of my story and the rules of society. I also understand how my characters can––and often will––break them.

At the time of posting, there are only certain sections that will be explored in the first Areios Brothers novel. But I have at least four more books planned as well as three novellas, so it’s safe to say that there will be more worlds and adventures for anyone who enjoys this New Kingdom as much as I do.

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Amy is a Canadian fantasy, steampunk, YA, and horror author. Her work revolves around monsters, magic, mythology, and mayhem. She started writing in her early teens, and never stopped. She loves building unique worlds filled with fun characters and intense action. She is an active member of the Weekend Writing Warrior community, and has even had a spotlight on the website of international best-selling author Michael J. Sullivan (The Riyra Chronicles, Legends of the First Empire).

When she isn’t writing, she’s reading, watching movies, taking photos, gaming, struggling with chocoholism and ice cream addiction, and diving headfirst into danger in Dungeons & Dragons campaigns. Amy can be found online on Facebook (www.facebook.com/amybraunauthor/) Twitter (@amybraunauthor) and Instagram (@amybraunauthor)

amybraunauthor.com

 

What Did You Win, Eric?

 

Littlest Death: An Afterlife Fantasy (a.k.a., Littlest Death: A Labyrinth of Souls Novel):
Winner: Independent Publishers Awards Silver Medal for Fantasy.
Winner: International Book Awards for Visionary Fiction
Finalist: International Book Awards for Fantasy Fiction
Finalist: International Book Awards for Best New Fiction
Finalist: International Book Awards for Cross-Genre Fiction

What Did You Win, Eric?
by Eric Witchey

Last time I posted in this blog space, I talked about award sickness because one of my novels had just won the Silver Medal for Fantasy Fiction from the Independent Publisher Book Awards. Since then, that same novel has won First Honors in the Visionary Fiction category from the International Book Awards. It also won finalist (top five) positions in several other categories, including Fantasy Fiction. At the same time, another novel of mine won First Honors in the Fantasy Fiction category from the International Book Awards. Yet another book won a Finalist position for both cover design and short fiction. The books are, respectively, Littlest Death: A Labyrinth of Souls Novel from ShadowSpinners Press, Bull’s Labyrinth from IFD Publishing, and Professor Witchey’s Miracle Mood Cure from IFD Publishing.

Note: Thanks are in order here for Alan M. Clark for his cover designs for both Professor Witchey’s Miracle Mood Cure and Bull’s Labyrinth.

Has my good problem, Award Sickness, gotten worse? Yes. Yes, it has. Thank you for asking. On top of that, I now have another good problem. I now have conversations that go sort of like this:

“Congratulations! What kind of stuff did you win?”

“Uh. Um.” Eric looks down and shuffles his feet.

“Really,” they say. “Cash, like the Pulitzer or the Nobel?”

“Uh. No. It’s not like that.” Eric waves his hands as if to push the assailant away and avoid embarrassment.

“Well, what then?”

“Stickers?” It sounds so tiny and pointless to Eric, so he adds, “I won some really cool stickers to put on my books. And a certificate!”

“That’s it?”

“A silver medal on a ribbon. I won that, too.” He doesn’t want to say he could wear that heavy bit of kitsch around his neck if he wanted to shout to the world that he is the worst kind of self-impressed language geek.

This kind of conversation confuses non-writers who often think recognition of excellence means income or fame. Having won quite a few awards for my writing, I can say with some confidence that awards rarely translate into income or fame. Sometimes, but rarely. This absence of fame and fortune even confuses some writers, so it’s time to come clean on the whole award thing.

Here’s what I won.

On a purely material level, I won stickers, a medal, and several certificates.

On a marketing level, I won the right to have Littlest Death presented to an international audience at the New York Book Expo and at the Library Book Expo in New York. Also on a marketing level, Littlest Death press releases went out to 800 various media, blog, and vlog outlets for consideration for exposure. Oh, and I can put stickers on the covers that appear as part of the presentation and advertising on places like Barnes & Noble, Amazon, and GoodReads.

Yay! Of course, I have no idea what that means in terms of sales. I won’t know for months, and possibly years, to come.

From my personal perspective, I won validation for the Afterlife Fantasy genre, which is embodied by Littlest Death. I had been thinking about writing an Afterlife Fantasy for some time, but I probably would never have done it because it would not have fit into any existing marketing category served by the octopus imprints of the big five publishers. A book like Littlest Death would have made the rounds of the imprints for several years. I’d have received the usual “loved this but not quite right for us” rejection letters. Instead, it came out from a small press that isn’t quite so risk averse.

Most important from my perspective, I won validation for the creative process that resulted in Littlest Death.

When I teach, I often say that craft tools should be based on the underlying linguistic and cognitive principles that govern the reader’s internalization of emotion from story. The test of a principle-based tool is pretty simple. It must be all of the following:

  1. Useful as a descriptive tool for finished, text-based story.
  2. Useful as an analysis tool and solution predictor for revision of text-based story.
  3. Useful as a design tool for the production of text-based story.

To that end, I have spent about 25 years obsessively characterizing and recording tools that fit the above criteria into a personal catalog. I use these tools constantly, and I teach them to others. However, prior to writing Littlest Death, there were a few tools in my box that I believed fit the criteria but that I had never actually tested on the design level. I had only used them as diagnostic and revision tools.

I used the opportunity to write my Afterlife Fantasy to test the design power of the untested tools. Specifically, the tools I often used in revision and description but had not really applied during story design were:

  • Irreconcilable Self as a control for character psychological and sociological development.
  • Vertical Story Analysis as a design tool to support manifestation of Dramatic Premise (Lajos Egri) and Character Arc prior to composition.

I’m not going to explain these tools here. Sorry. It would take too long. I’m just saying that these tools have been in my box for a while, and I have used them to revise many stories that went on to sell. In fact, I used them to revise Bull’s Labyrinth, which won the International Book Award for Fantasy Fiction. I also used them to revise some, but not all by any means, of the stories in Professor Witchey’s Miracle Mood Cure. I had just never used them up front before initial composition, so I felt a little bit like a fraud when I taught them because I had only proven to myself that they worked on two of the three levels of proof for “tool” that I require.

Once Littlest Death went into print and I started getting emails from people who cried tears of joy while reading, I felt pretty good about having demonstrated the tools’ usefulness in design. Once Littlest Death won two awards and several finalist slots in competition against many thousands of other novels, I started thinking it might be worth considering a few more such experiments in design.

What did I win?

I won validation of knowledge, confidence in that knowledge, and the confidence that sharing that knowledge with others will be useful to them.

Writing a Labyrinth of Souls Novel

By Lisa Alber

You may have noticed that every once in awhile one of us ShadowSpinners will mention “Labyrinth of Souls” (LoS), which is a Tarot-inspired solitaire card game with a role-playing aspect to it, created by our own Matthew Lowes. “Labyrinth of Souls” also refers to the companion novels that most of us are writing or have written already. I signed on during the summer, and I’m nearing the end of my first draft—it’s been a blast. And highly educational for me to step out of my usual genre.

I chose a bad-ass beauty, the Queen of Wands, as my inspiration/theme. My novel will be called “The Bog Queen,” and is also inspired by Celtic/Irish lore–and bog bodies!

I write crime fiction. Dark fantasy is new, new, new to me. I find it liberating to write in a world that doesn’t need to be grounded in reality, a world that includes mythological creatures and adventures that can defy the basic laws of nature. The sky can be permanently reddish. My hero can accidentally pollute a stream because of his very humanity. Ravens can turn into a triad goddess. My imagination crackles along in the most fun fashion.

Recently, a bunch of us LoS-ers spent a writer’s retreat weekend on the Oregon coast. For me, part of the purpose was also to ground myself in fantasy—i.e. to ask for advice. I was reminded that in terms of storytelling, these stories are pretty straightforward. I don’t have to worry about planting clues and red herrings, as I would with a mystery. My hero’s on a journey, and the outer journey through the labyrinth reflects his inner journey toward some kind of change. This isn’t so different from any story, but with mystery you have an extra-added whodunnit? puzzle layer.

Instead of the mystery layer, I’m wrestling with the world-building layer. Wow. Just wow. I’ve always admired the imagination that fantasy writers wield, but now I truly get it. Halfway through writing my first draft, I realized that I’d have compartmentalize the world-building writing aspect since I’m coming at this skill as a newbie. So the first draft is all about figuring out the world and the challenges it poses to the hero along the way. This is the plot, essentially.

I normally start with character, so starting with the plot is an interesting twist in my usual writing process all by itself. For my second draft, I’ll return to character and deepen the internal plot line, add more description in some places, and so on.

Questing Beast makes an appearance in “The Bog Queen.”

It feels strange not to have mystery elements to fall back on as the scaffold for the story. Instead, I have the equivalent of a ticking clock. My hero will be annihilated if he doesn’t figure out his shit and defeat the challenges the labyrinth places in his way. It’s a thriller, basically, another type of story I’ve never written before.

I’ve now read the LoS novels that have already been published, and what I love about the project is how different our versions of the labyrinth are and how different our stories are. Check out the other Labyrinth of Souls novels here.

A Creative Career Path

by Matthew Lowes

I was recently asked to speak to a high school freshman careers class about my work as a writer and independent game designer. This was at the school where I work, so many student were surprised that I had this other life writing fiction and games. I talked a little about my creative work, about The Labyrinth of Souls tarot card game, and about my novel, The End of All Things, which just came out. Then I answered a series of questions they had put together, which I’ll reproduce here. If there are any young people out there interested in pursuing creative work, here’s an inside look at how that’s unfolded for me … and few tidbits of advice.

1. How did you discover your love/passion for this activity or line of work? Is your career different than what you wanted to do when you were in high school?

I played with writing stories at a pretty young age, so that was there from early on. I read a lot of comic books when I was little. I also tried to tackle things way beyond me at the time. Actually my failure to read and comprehend The Iliad at around the age of ten may have turned me off from reading for a while. Nevertheless, at some point, everybody who loves books finds a book that really resonates with them at that moment in their life, and for me that was The Mosquito Coast by Paul Theroux, which I read in the summer between my sophomore and junior years of high school.

My junior and senior year high school English teacher really helped solidify my interest in writing and literature. He was very demanding and a hard grader. He would never accept work even so much as an hour late and had the expectation that we would produce publishable quality writing. This really impressed upon me the importance of editing and always meeting your deadlines, which is incredibly important for a professional writer. But it was his love for literature and writing that helped me realize my own passion for the work I do now.

As far as games, that goes back a long ways too. When I was around nine years old my brother and I started playing Dungeon & Dragons, and I played a lot of roleplaying games right up until around middle school. A few years ago I got interested in games again, and since I spent the last twenty years or so working on writing, it wasn’t long before I was writing my own games. Games combine everything I love about fiction and narratives with math and logic. It’s a wonderful balance between creative and the analytical elements of thought.

2. How long did you consider turning your passion into an income before you went for it?

I wanted to be a writer, and really started writing with that in mind, when I was a freshman in college. I tried submitting a few stories almost right away, but got more serious about it a few years after I graduated from college.

3. What kind of schooling/training/qualifications is required in order to do your job?

There are no official requirements, but the unofficial requirements are vast. One must have passion, determination, and perhaps most importantly, vision. What I mean by vision is you have to have something to say, not in the sense that you have an opinion or a belief or a point of view, but more like you have an image of something you want to create.

I have a bachelor’s degree in English Literature and a Master degree in teaching, but school is only a starting place for learning. A formal education and teacher can take you only so far. If you wish to excel, you must take it upon yourself to educate yourself about every aspect of what you’re doing. You must take complete responsibility for your knowledge and skills.

4. How long did it take to go through the training to do your job?

My whole life.

5. Is this career what you expected it to be?

Nothing is ever what you expect it to be. That’s what makes life so interesting. Everything you think you know about life and living now comes from a particular point of view that is shaped by the situations you find yourself in. Those situations and that point of view will change continuously throughout your life. Perhaps one day you will come to a place where you have no point of view whatsoever. But that is another conversation.

6. What do you enjoy most about your career? What is the best part of your job?

I enjoy pursuing my creative impulses. I enjoy taking an idea or vision and turning it into something concrete that others might find enjoyable, interesting, or inspiring.

7. What adventures/memorable moments have you had?

There is a wonderful satisfaction in finishing a large project you have invested a lot of time and energy into. I spent some twelve years writing a trilogy of fantasy novels, with a total of around 300,000 words, or some 1000 pages. When I finally got to the last sentence of the last paragraph of the last chapter of the last book, there was an indescribable feeling of triumph. I hope everybody can experience something like that in their life. Those books are actually not yet published yet, but when they are that will be another memorable moment. Every project I complete, whether a short story, a game, or a novel, is like that to some degree.

8. What is the most challenging part of your career? If you could change one thing about your job what would it be?

One must be prepared to work long hours, months, and years, potentially without any encouragement, validation, praise, or income. That has been a challenge. There was a long period in my life where I would have given anything to have the time and resources to devote myself full time to my creative work. But eventually you see that every aspect of your life is part of your creative work, is fueling it, and so there is no point in changing anything. In any case, things are constantly changing anyway. So one day I may yet have that luxury.

9. Are there any dangers in your job?

The biggest dangers for people doing creative work are psychological. We don’t live in a society that makes pursuing any kind of art particularly easy. So there is a danger of becoming frustrated, jealous, depressed, self-loathing, or bitter. I suppose there is also the danger of simply not being able to pay your bills, but that’s a part of the whole package.

10. How much stress is connected to your career?

Stress is all in the mind. Some situations are typically more stress inducing than others, but it is our response that creates the stress, not the situation itself. Whatever you do in life, you will encounter stress, but if you keep this in mind, it will be a lot easier to deal with.

11. What are your typical weekly hours?

I work four days a week at the school. For my creative projects, often I will work about two hours at night, and twelve to twenty hours or so over the weekend. It varies depending what projects I’m working on and where they’re at.

12. Is family time restricted due to job duties?

Yes. Because I essential work two jobs, a lot of my would-be free time or social time is taken up working on creative projects.

13. What is the expected income for an entry level position? How often do you get paid?

For someone doing independent creative work there is no expected entry-level income. It all depends on what you do and if people buy it.

14. Salary or hourly position? Do you make enough money to be comfortable?

I support myself through my job at the school. As an independent writer/game-designer, my income has increased over the years, but I don’t make enough money to support myself doing only that. That job has no salary and no hourly wage. I make something, and if people buy it I get a percentage royalty after production and distribution costs.

15. What benefits are offered with your job?

My job at the school has good benefits, like health care, holidays, sick leave, and so on. My job as a writer and game designer has no such benefits. If you take a path like this, you have to find a way to sort out life’s logistical details, so you can continue to do your creative work.

16. What is retirement age?

What is retirement? What is age? There’s plenty of time to think about these things later in life. Focus on what’s happening now and you can never go wrong. For someone in a creative field, there is no end to creative possibilities.

17. Is there possibility for promotion/movement within the career?

There are always possibilities. Opportunities are abundant, to take good actions, to better yourself, to learn and expand your sphere of influence. These opportunities appear every day for everyone. You need only notice and embrace them.

18. Are you happy with your career choice?

I am very happy with the course my life and my career has taken. Sometimes things in life choose you, but if you embrace whatever happens, you will find happiness.

19. What advice would you give this class as they start their career search and preparation?

Here’s some strange advice, but it might work well for the right person.

Pick something obscure and learn absolutely everything about it, become the best at it. For example, if you want to play in an orchestra, don’t become a violin player, unless you can’t help it because that’s what you love or you just have extraordinary talent for that. Instead, if you become the best bassoon player in the world and you will always have an interesting job.

A while ago, I was doing some research on mummies for a story I was writing. It turned out there was one guy who was the world’s most renown expert on mummies. He knew everything there was to know about it. He had a mummy-related job and whenever something mummy related came up, he would be consulted. That’s the kind of possibility I’m talking about.

Beyond this interesting idea, I would say take responsibility for your own education. Read widely. Learn everything. Follow your interests, but don’t forget to take care of practical matters.

Finally, stop complaining, and simply take good actions.

20. What would you have done differently in high school?

This is a strange question, since I could not have done anything differently than I did. I was who I was at the time, and I am who I am now. But if you’re asking me what I think you should do while you’re in high school, I would say you should take advantage of the great opportunity to learn and better yourself and your situation. Study hard, learn as much as possible, but don’t worry too much about the future, other than to consider it and make some appropriate plans for what you will do after high school.

If you feel overwhelmed or depressed, ask for help. You’re not alone and people care about your well-being. Finally, don’t do anything foolish, like taking up drugs or drinking alcohol. Your brain and your body are still developing. Don’t risk messing yourself up for life. Maybe some of you are already doing these things and are thinking that it won’t mess you up, but you could be terribly wrong. You don’t even really know what messed up is, because you don’t really know where you’re at or what your true potential is.

Try to find out what your true potential is. It’s way bigger than you can even imagine.

From Games to Fiction

by Matthew Lowes

The history of fiction inspired by games goes back at least to the 1970s when the first Dungeons & Dragons inspired novels were released. If we count gladiatorial games we might push this back to the Roman era. And if we count the “game of life” we can push it back to dawn of humanity and the very origins of story telling. In any case, there are enough examples, both good and bad, to discuss some of the issues involved with writing a story inspired by a game.

When I first designed the first Dungeon Solitaire card game, I couldn’t have foreseen the success we would have with the expanded Labyrinth of Souls game. And when that game launched, I couldn’t have foreseen that there would soon be a series of Labyrinth of Souls novels. When that opportunity arose, thanks largely to writer Elizabeth Engstrom and writer & publisher Christina Lay, I felt strongly that there were some game-inspired fiction pitfalls that we should avoid.

Games with a narrative element, like Dungeon Solitaire, lend themselves to fiction because the game itself is designed to generate narratives. Once involved with the game, the mind is already spinning stories. However, game narratives and fiction narratives have some key differences. And as a writer of fiction engaging with game-related material, one should be clear about this.

Game narratives are generated through game-play. They are generally open ended, often meandering, and sometimes surprisingly random or short. Dungeon Solitaire is a good example. The game is a kind of hero’s journey, and can generate some classically structured narratives. But it is also possible to die on the first turn, or to lose the dragon-battle or get lost forever, right where the classic story would end in victory. In a game, that’s all part of the fun. What’s going to happen is really unknown, and like life, there is an element of randomness to the outcomes.

Good fiction, on the other hand, is always a kind of optimized or archetypal narrative. Take thousands of games played, or thousands of lives lived, and artfully choose from them the most satisfying and illuminating narrative structures and elements. That’s what fiction does. It is a kind of distillation of the game or life narrative into its most essential and moving forms. No book randomly ends after the first chapter. And no good book sets up one ending and then delivers a completely different one. The archetypal narrative forms, like the gods, must somehow be appeased for the beauty of fiction to flourish.

   

With all this in mind, I wanted the Labyrinth of Souls novels to be good fiction first and foremost. We had a lineup of incredibly talented fiction writers and they had to be free to do what they do best. The idea of the Labyrinth was broad enough to encompass a broad range of stories, without limiting authors to any predetermined setting or time period. And that’s one of the things I find so exciting about the novels so far. Although they all involve a journey into an underworld labyrinth of some sort, each one is entirely unique.

In creating something inspired by something else, we are still creating something new. So when writing fiction inspired by a game, it is primarily important to fulfill all the requirements of good fiction. Evoking the game in some way is necessary, of course, but only of secondary importance. Any constraining requirements should be kept to a minimum. For inspiration reaches its greatest potential when it happens with the greatest liberty to explore one’s own ideas.


You can learn more about Dungeon Solitaire: Labyrinth of Souls and download the free PDF of Dungeon Solitaire: Tomb of Four Kings at matthewlowes.com. Discover Labyrinth of Souls fiction titles and follow new releases at shadowspinnerspress.com.