What Makes a Great Fantasy Story?

Here’s a confession: There’s a lot of fantasy fiction I’m not interested in. I simply do not care about elaborate world-building for the sake of it, no matter how imaginative, intricate, or clever. Nor do I care about the history of orcs, elves, dwarfs, werewolves, vampires, their various groups, subgroups, histories, culture, pets, favourite recipes, viewing habits, and so on. I’m not interested in Dungeons and Dragons games, and I couldn’t care less about mana points, or other absurdly complex witch and wizard minutiae.

However, I absolutely love The Lord of the Rings, His Dark Materials, Harry Potter, and certain other key entries in the fantasy canon. What is it that makes these tales stand out where others fail to grab my interest?

A common mistake made by aspiring fantasy writers is they think including elaborate fantasy iconography is enough. It isn’t. Enchanted forests, magical artefacts, dragons, and so on do not by themselves a great story make. I believe the key to a great fantasy story is the same as the key to any great story: an original, incisive, and resonant treatment of a universally relatable theme.

513NXQYJ1VL._SX307_BO1,204,203,200_To take Tolkien’s The Lord of the Rings as an example, that novel isn’t really about orcs, elves, magic, and so on. It has – among other themes – profound and deep things to say about friendship, growing up, and the melancholia of the end of an era. These themes are universally relatable, which is why people who normally wouldn’t look twice at a fantasy story make an exception for The Lord of the Rings. These themes are explored memorably in many other genres too.

91zAe4EXmjLHis Dark Materials is likewise less concerned with armoured bears, angels, and parallel universes, and more concerned about abuse of power, corruption, and the effect of religious oppression on innocent children. Again, these themes have been explored in other genres, but Philip Pullman’s masterstroke is the creation of the daemon – a kind of spirit animal that represents our innermost being. At its most fundamental level, His Dark Materials is concerned with spirit, soul, and body, ie what makes us human in the first place.

41AF6KHRGML._SX329_BO1,204,203,200_In the case of Harry Potter, despite JK Rowling’s masterful and elaborate world-building, the saga isn’t really about magic, witches, and wizards at all. The school story – with its familiar gang of the brainy, the bullying, the brave, and so on – tap into universally relatable themes that remind us of our own school days. Then there’s the coming of age story – again universally relatable. These themes have presented themselves in many genres, not just fantasy.

All of which leads me to conclude that the best fantasy stories – indeed, the best stories in any genre – will contain unique and memorable treatments of familiar themes that everyone can identify with. It really isn’t about how much magic power your particular breed of troll has, and whether it can beat your opponent’s storm demon in a fight.

Dr Gribbles and the Beast of Blackthorn Lodge Revisited

Last month, I revisited my debut novel Uncle Flynn with a number of articles. This month, I’m putting the spotlight on Dr Gribbles and the Beast of Blackthorn Lodge, but with just one article this time.

Dr Gribbles and the Beast of Blackthorn Lodge is a page-turning adventure story aimed at all ages, although primarily of appeal to those who enjoy novels such as Anthony Horowitz’s Alex Rider series. Check out this rather cool cover (courtesy of the excellent Charles Bown).

DrGibbles_1600x2400_front cover

A thrilling, fun, and sometimes scary ride (particularly in the first act), the opening chapter alone features a haunted house, a monster, and a mad scientist.

Set in 1987 towards the end of the Cold War, we’re introduced to our hero, eleven year old Tim; an intelligent, witty, but bullied child who gets trapped in the afore-mentioned haunted house. After a frightening encounter and narrow escape, he and his older brother Rob are drawn into a gripping adventure involving their neighbour; the mysterious, seemingly insane Dr Gribbles, a former government scientist.

Dr Gribbles was involved in a number of top secret experiments, one of which draws the attention of spies from Britain, America, and Russia – as well as Dr Gribbles’s estranged daughter Emily. Mayhem ensues amid a game of cat and mouse on the bleak wilderness of Dartmoor, hushed-up military research bases, mysterious archaeological digs, hidden tunnels, vehicular chases, twists, turns, betrayals, and much more. At one point, there are also wasps. Lots of horrible, angry wasps…

I should add that the wasp incident is actually based on a rather nasty real-life incident that my children and I had the misfortune to suffer (though we look back on it now with some amusement). The book is dedicated to my youngest son Thomas, on whose elaborate and imaginative nightmares the story is also partly based.

To get your copy of this madcap but marvellous adventure, simply click here.

Film Review – Portrait of a Lady on Fire

portrait-of-a-lady-on-fire-2-800x445

Portrait of a Lady on Fire, the latest from Girlhood writer/director Celine Sciamma, is a superbly constructed, painterly, emotionally gripping psychological drama/romance. With a female director, all-female cast, and barely a glimpse of a man for the duration, this has caught the attention of academics, critics, and feminists as a significant cinematic exploration of “female gaze” instead of “male gaze”, in a variety of multi-layered and intriguing respects (not just the lesbian love story aspect).

Suffice to say, I won’t bore you with lengthy scholarly discourse in this review. Instead I’ll simply say that the film is a must for cineastes. Set in 18th Century France, the plot concerns professional painter Marianne (Noemie Merlant), who has been hired to paint Heloise (Adele Haenel), ahead of her arranged marriage to a Milanese suitor she hasn’t met (the suitor won’t agree to marry unless he sees her painting first). Heloise isn’t happy about the match, and refused to pose for the previous hired painter. To that end, Heloise’s mother has arranged a deception, whereby Marianne will pose as a lady’s companion to accompany Heloise on her brooding walks along the rugged coastline, in order to study her and paint her portrait in secret. As she studies her subject, the pair slowly fall into a forbidden love affair.

This is a beautifully photographed film, courtesy of cinematographer Claire Mathon. The subtle performances simmer with erotic tension, and the dialogue is a dripping honeycomb of subtext. Sciamma conjures an eerie, dreamlike atmosphere which has a touch of the gothic, and even nods to Hitchcock (specifically Rebecca and Vertigo). There are also potent allusions to Greek mythology, specifically the tale of Orpheus/Eurydice in the underworld.

Portrait of a Lady on Fire plays with themes of watching and being watched, cleverly flipping the metaphorical mirror backwards and forwards between characters in fascinating ways. As a doomed romance, it is also very effective, though in fairness likely to get up the nose of some of my fellow Christians for obvious reasons (as will an abortion sequence, involving a maid). So certainly not a film for everyone. But in the end, every aspect of the production – performances, screenplay, cinematography, and direction – coalesce to form a superb whole, making this highly recommended to anyone with serious interest in cinema.

One more small point: Off the top of my head, I can’t recall another film that featured women smoking pipes! Why don’t we see that more often?

UK Certificate: 15

US Certificate: R

Content Warnings: Sexual content, nudity.

The Pillars of the Earth: Brilliant Books and Bad Sex

51UWVoiITGL._SX327_BO1,204,203,200_Recently I finally got round to reading Ken Follett’s historical epic The Pillars of the Earth. A sprawling tale covering the medieval anarchy period between 1123 to 1174, it concerns the building of a cathedral in the fictional town of Kingsbridge, and the various intrigues, challenges, and wars that ensue, involving several characters and families.

A number of plot threads are juggled to great effect, including that of the monks of Kingsbridge monastery, under the leadership of Prior Philip. A feud between two families of nobles provides another plot thread, concerning the Earl of Shiring and another noble family, the Hamleighs. In fact, William Hamleigh is one of the most odious and entitled villains I have ever read; a character I truly loved to hate. His efforts to sabotage the building of the cathedral for his own ends, bringing him into conflict with Prior Philip – a character I identified with for multiple reasons – provides much of the narrative’s dramatic meat.

Elsewhere there are subplots involving stonemason characters, their struggles to obtain work, internal lodge politics, and family feuds. We also get glimpses into the politics of the royal court – a devious, scheming arena in which Prior Philip is very much out of his depth. Another big joy of the book involves the sheer level of research into the minutiae of what is involved in building the cathedral – the architecture, building techniques, and so forth. There are also knights, sieges, battles, and some notable historic incidents thrown in for good measure (the murder of Thomas Becket, for instance). There’s even a hint of the supernatural – a witch’s curse in the prologue casts a shadow over the entire narrative.

However, whilst The Pillars of the Earth is a novel I’d recommend to anyone, it is flawed by that hilarious literary stumbling block: bad sex. You know the kind of thing I’m talking about. Passages detailing bodily functions in ways that are laughable rather than dramatic (or even arousing for that matter). One particular female character called Aliena – an otherwise well-written, multi-layered individual – is subjected to endless ludicrous breast descriptions. It happened so often it became like a running gag, to the point that whenever she walked onto the page, I would remark to my wife “another breast update”. These sections also reminded me of a recent satirical article about male authors describing female characters. One line said “She boobed boobily down the stairs”. The Pillars of the Earth has a lot of “boobed boobily” moments.

Don’t get me wrong – I still think it’s a terrific novel and a monumental achievement for Ken Follett. Also, he’s not alone as a great author with a great novel containing bad sex. Sebastian Faulks’s Birdsong – one of my all-time favourite novels – is also hampered by bad sex in places. I could cite many other examples. In fact, there’s even an annual Bad Sex Award for bad sex in literature, with otherwise prestigious names often earning this unwanted accolade.

All of which begs the question, how exactly can an author write a “good” sex scene? I’ve avoided them for years, largely because I’m worried I’d end up writing “boobed boobily” moments. However, when writing two recent (as yet unpublished) novels, I knew in both cases the narrative required some contextually justified sexual content, and that each story would suffer if I couldn’t convey the passionate emotions of the characters in those scenes. How best to proceed? The task was daunting, until I got advice from an author group I belong too, some of whom write romance and erotica. The main lesson I learned – bearing in mind my novels are not erotica and therefore absolutely not about trying to arouse the reader per se – was to, if you’ll forgive me, “sell the sizzle, not the sausage”. I had to sell the desire of the characters, the build-up, the anticipation, the emotional release… and not dwell on bodily parts. I wanted to avoid “boobed boobily” moments.

Readers are yet to see the results, and of course only they will be the final judge of whether or not I succeeded. In the meantime, breast updates aside, I’d very much recommend Ken Follet’s The Pillars of the Earth.

Film Review – Military Wives

STILLS_11-scaled

Military Wives, the latest film from Peter Cattaneo (best known for The Full Monty) isn’t going to change the course of cinema. Inspired by the real life story of the Military Wives choir and their inspirational legacy, the film is contrived, clichéd, sentimental, and predictable in everything from events to character arcs. However, all that said, it works very well, and I really rather liked it.

Whilst their partners are away on an Afghanistan tour, the wives at a UK military base keep themselves busy by forming a choir. Obviously they’re terrible at first, but then they improve to the point where they get invited to play at the Royal Albert Hall Remembrance Service in London. Whilst there are no real narrative left turns, what makes this work are the well-written characters, especially the two women leading the choir whose personality clash forms the bulk of the drama. Kate (Kristin Scott Thomas, as excellent as ever) is a posh colonel’s wife, who uses the choir to distract from the absence of her husband, and from the recent death of their son. She wants the choir to be purposeful and to strive for excellence, whereas Lisa (Sharon Horgan, also excellent), a plainspoken sergeant’s wife, just wants the choir to give everyone a bit of fun singing 1980s pop classics. These two characters clash, develop mutual respect, bond, fall out, and… Well, no points for guessing where it ends up.

Along the way, there are serious glimpses into the pressures, heartaches, and tragedies suffered by these women, as well as their incredible courage. All good storytelling puts the you in another person’s shoes, and in this respect Military Wives succeeds admirably. One element of the postscript honours the now 75 strong Military Wives choirs that have sprung up as a result of the initial choir (and the hit single that followed). These women certainly deserve to be honoured.

All of which makes the film sound worthy and dull. It isn’t. It is consistently entertaining throughout. There are – appropriately – less laughs than The Full Monty, and it won’t do anything you don’t expect, but it is a stirring and absorbing concoction, machine tooled for audience satisfaction. No bad thing, in this case.

UK Certificate: 12A

US Certificate: PG-13

Content Warnings: Occasional strong language, sexual references.

Film Review – Onward

ONWARD

Onward is another first-rate animated feature from Pixar, with adventure, humour, and tear-jerking moments aplenty.

The plot concerns a land of magical beings (elves, trolls, pixies, centaurs, and so on) which in the past was filled with magic, but in recent times has become like our world. Because it is so much easier to rely on electricity and other modern conveniences, magic is all but ignored. Amid this world, we are introduced to brothers Ian and Barley Lightfoot, who through circumstances too convoluted to detail here, obtain a magical staff that brings their deceased father (who Ian has no memory of) back to life for one day. The problem is, the staff only conjures his bottom half – his legs, which wander around of their own accord. As a consequence, Ian and Barley head off on a quest together, trying to find the magical crystal that will complete the manifestation of their father, before the twenty-four hour window expires.

As one would normally expect from Pixar, the animation is beautiful throughout. Director Dan Scanlon and his animation department provide a colourful palette that mingles the familiar world of suburbia, cities, roads, petrol stations, restaurants, and so forth, with vivid fantasy set pieces. These include a bottomless chasm, stone ravens in the wilderness, an underground booby trap gauntlet, and a monstrous enchanted dragon comprised of building rubble.

The vocal cast includes Tom Holland and Chris Pratt in the leads. Both are highly engaging. In addition, there is strong support from the likes of Octavia Spencer, Julia Louis-Dreyfus, and Mel Rodriguez. Jeff and Mychael Danna provide a suitably stirring music score which stays just the right side of parody. Speaking of which, there are neat nods to everything from The Lord of the Rings to Harry Potter and the Indiana Jones films throughout.

Ultimately, Onward understands the truth at the core of all great fantasy tales, in that it is in the journey that our heroes obtain what they truly need, not in finding the object of their quest. In this case, the brothers are on a tale of self-discovery, learning things about each other they never knew, coming to appreciate one another better. Themes of overcoming fear and self-loathing are also present, and one scene even has a nice allusion to the Biblical story of Peter walking on water, wherein he could do so whilst he kept his eyes on Jesus, but sank when he looked back at the wind and waves. As for the wonderful finale (which I obviously won’t spoil), it is certainly as moving as recent Pixar gems Coco and Inside Out. There was definitely something in my eye.

Exciting, funny, and emotionally resonant, Onward has something for everyone of all ages. One final note: Don’t arrive late and miss the Simpsons short before the main feature. It’s a gem.

UK Certificate: U

US Certificate: PG

Fancy a gripping read?

Fancy a gripping, page-turning supernatural mystery? Why not check out any of the five novels below.

The Birds Began to Sing_1600x2400_Front Cover THE THISTLEWOOD CURSE Cover (JPG Print version) SSF cover

simon-dillon-irresistible-summons-full-res PHANTOM AUDITION

I refer to them collectively as the “Spooky Quintet” (a silly collective term, I know). Each one features a nail-biting central mystery, a tenacious imperilled heroine, sinister secret orders, shock twists, and plenty of wandering around gothic labyrinths of one kind or another.

To get your copy, simply click on the covers.

Film Review – True History of the Kelly Gang

ffdd1ed0-32f1-11ea-b5ff-60679f8ad0ea

“Nothing you are about to see is true” appears onscreen at the start of True History of the Kelly Gang  – the latest in a long line of films about Australia’s most celebrated and notorious outlaw Ned Kelly. It’s a deliberate provocation, because what follows feels messily, brutally plausible. This is no Butch Cassidy and the Sundance Kid glamorisation, but more in the line of The Assassination of Jesse James by the Coward Robert Ford, with a punk rock twist.

Based on Peter Carey’s novel, adapted by screenwriter Shaun Grant, the plot covers much of Kelly’s life in a deliberately jagged, disjointed fashion, with subtitled acts entitled Boy, Man, Monitor. “Every man should be the author of his own history,” is a line spoken by Kelly’s mentor, Harry Power (Russell Crowe), but it resonates throughout the entire film, subverting much of the Kelly legend, stripping away the myth and looking at the man, even though this film too, is inherently fabricated. Like The Assassination of Jesse James, this is less concerned with conventional outlaw genre mechanics – there is little in the way of robberies, hold-ups, chases, and so on – and instead becomes a visceral, dirt-under-the-fingernails delve into the formative forces that shaped Kelly. As a child, he is exposed to much brutality and criminality, with his innocence eventually shattered as he is sold by his own mother to Power. As an adult, Kelly is a confused, sexually ambiguous figure whose reluctance to pull the trigger is further thrown into doubt by apparently friendly overtures from charismatic but duplicitous English constable (Nicholas Hoult). “You’re not the man you pretend to be,” he says, in possible reference to many things (including the way Kelly’s criminal gang wear dresses to shock those they rob). There’s also an alarming toxicity to Kelly’s relationship with his formidable sex-worker mother (Essie Davis), particularly in the chilling moment when as an adult Kelly confronts her for selling him to Power. She merely shrugs and says “Nothing in life is free”.

Performances are excellent – especially from the afore-mentioned Davis and Hoult. Orlando Schwerdt is compelling and haunting as the young Kelly, whilst George MacKay brings an awkward, sinewy physicality to the role, along with tremendous rage. Director Justin Kurzel and cinematographer Ari Wegner conjure extraordinarily atmospheric images throughout; including vivid landscapes of skeletal trees in the wilderness, and the horrifying, stroboscopic, trippy final night shoot-out. The nightmarish advancing lines of seemingly invisible lawmen clad in white cloaks is more an image from fantasy/horror rather than Aussie western.

For all its brilliance, the film feels uneven and a little overlong at times. Also the relentless harshness and brutality will put off many (strong violence, extremely strong language, and sexual content feature throughout). However, all things considered, despite flaws, True History of the Kelly Gang feels vibrant, fresh, and rigorously cinematic.

UK Certificate: 18

US Certificate: R

Content Warnings: Strong violence, extremely strong language, sexual content.

Film Review – The Invisible Man

Film Title: The Invisible Man

HG Well’s classic novel The Invisible Man has no real bearing on this film, which uses the concept and little else. Not that it matters. The Invisible Man has been riffed very effectively throughout cinema history, in everything from James Whale’s sort-of straight adaptation in 1933, to John Carpenter’s underrated 1992 thriller Memoirs of an Invisible Man, and Paul Verhoeven’s agreeably nasty 2000 offering Hollow Man. This latest take is an extremely effective one, adding topical themes of domestic abuse and gaslighting into the mix. If that makes you expect something worthy and dull, think again. The Invisible Man is a suspense-packed, old school, Hitchcockian horror thriller with guaranteed genre entertainment value, and a superb central performance from Elizabeth Moss.

Moss plays Cecilia, an architect who in act one, narrowly escapes from her violent and controlling tech company founder boyfriend Adrian (Oliver Jackson-Cohen). She is terrified he will find her, but then hears he has committed suicide. She also inherits five million dollars of her former boyfriend’s estate. Thinking she might be able to move on, Cecilia is encouraged by her sister Emily (Harriet Dyer), her policeman friend James (Aldis Hodge), and his teenage daughter Sydney (Storm Reid) to try and get a job, and take the steps required to rebuild her confidence, and her life in general. However, a series of disturbing incidents lead Cecilia to suspect her ex-boyfriend may not be as dead as everyone thinks. Worse, that he has found a way to make himself invisible, stalk her, and take revenge.

Writer/director Leigh Whannell milks maximum suspense from old-fashioned, creeping-around-dark-house type set pieces, building the paranoia and edge-of-the-seat thrills with aplomb. There are some genuinely frightening moments, and a couple of superbly timed jump-scares. Some of the final twists may be a bit predictable, but there’s enough panache and originality mixed in with the familiar to make the film feel vital and fresh. Performances are all strong (especially from Moss), and the whole thing is served on a delicious bed of Bernard Herrmann-esque strings, courtesy of composer Benjamin Wallfisch.

Of course, in the end it’s all very far-fetched, and certain lapses in logic are a bit difficult to swallow. But a spoonful of social commentary helps the ludicrousness to go down, after a fashion, with the afore-mentioned topical themes. The finale in particular at least has something to say, if not necessarily anything very profound, about the need for honesty in relationships. You won’t think about it much afterwards though, as this is a pulp thrill ride first and foremost, and all the better for it.

UK Certificate: 15

US Certificate: R

Content Warnings: Swearing, violence, scary scenes.