Fantasy is probably the most popular of all children’s genres; however much of it is still read and enjoyed by adult readers. One only has to look at the highly successful Harry Potter series to see how much influence this type of writing has. But as a writer you need to be aware of a few facts and conventions of the genre before trying your hand at writing fantasy
Fantasy as ‘crossover’
Long before Harry Potter, adults were secretly enjoying ‘children’s’ literature in the form of fantasy. The Lord of the Rings was originally categorised as a children’s book, as were Orwell’s Animal Farm and Jonathan Swift’s Gulliver’s Travels, even though all three deal with very adult themes. It is really only from the late 1970s and early 80s that fantasy was given its own shelf in the adult section of the library. So is there still a dedicated children’s fantasy genre? I think so. Although it has much in common with adult fantasy (similar plot lines, conventions etc) there are things (common to all children’s writing) that set it apart, such as: child protagonists, age appropriate language, sanitised plot lines (no or limited sex and violence). In addition, The Encyclopedia of Fantasy suggests that what sets children’s fantasy apart is the theme of transformation. This is a fantastical metaphor for the age-old theme of ‘coming of age’ that is found in most children’s writing for the 10+ group. As Lisa Tuttle explains in her Writing Fantasy and Science Fiction:
It is the ability to experience either a transfer of self from place to place or through time, or a change in being (from poverty to riches or from beast to beauty). The latter process is particularly important as it allows the child to come to terms with its own change from child to adult.
(Tuttle, p119)
Common fantasy sub-genre in children’s writing
The Encyclopedia of Fantasy suggests six common sub-genre:
The following are the main conventions you’ll need to be aware of when writing fantasy:
Ever since The Lord of the Rings, the stock setting for most fantasy books is a pre-industrial one, with much in common with Earth’s Middle Ages. However, ‘futuristic’ fantasies are becoming more common as the stock setting has been done to death.
Myths, legends and fairy tales
Elements of Celtic, Arthurian and Central and Northern European mythology are easily identifiable.
Modern fantasy has its roots in fairy tales, myths and legends – an imaginary past more than a real one. It is therefore less concerned with novelty and innovation than with old stories retold. Even the most inventive and original fantasy tends to look back to earlier epic tradition and what might be considered eternal truths.
(Tuttle, p22)
Magic
This is an almost essential element, as without it, ‘logical’ explanations would have to be found for fantastical events – that would make it Sci Fi, not Fantasy. Critics of Fantasy say that often the ‘magic’ reflects forms of occultic religion, unsuitable for children.
Archetypes
Fantasy is rich ground for Jungian psychologists: the wise old woman, the divine child, the young hero or heroine sent on a quest, helpful animals, a walled castle, the wasteland, the dying king, shape-shifting tricksters, dragons and unicorns. These archetypes have a pre-existing meaning for the reader, and are, to a degree, expected to appear in some form or another.
When they’re handled well, these familiar characters have the ring of truth about them, and seem both familiar and yet original; but if the author is lazy or unskilled they’ll come across as cartoons or clichés.
(Tuttle, p21)
Landscape with meaning
In fantasy, the landscape or ‘world’ that is created has equal importance with character and plot. However, resist the temptation to go overboard on description, and only include as much as is needed to further characterisation and plot.
Maps
Since Tolkien, these have become almost de rigeur in helping your reader to picture the world you have created.
Journeys
Much of fantasy fiction writing has a journey of discovery or ‘quest’ at its heart. We accompany the POV character on his / her journey, and this helps us to navigate through the new world.
Suspension of disbelief and internal logic
When writing fantasy you will expect your reader to suspend their disbelief as they enter your world and take it as you describe it. However, this doesn’t mean that anything goes. Every fantasy world has rules or laws that cannot and should not be broken. Characters need to act within the restraints of these laws. For example, dragons derive energy from the sun and can’t stay on the ground for long (‘Glint’, Ann Coburn, p26). As the creator of this world, you make up its rules, but you too must be subject to them.
A writing exercise:
Create your own fantasy world and write a story set in it. Ask yourself:
Fantasy as ‘crossover’
Long before Harry Potter, adults were secretly enjoying ‘children’s’ literature in the form of fantasy. The Lord of the Rings was originally categorised as a children’s book, as were Orwell’s Animal Farm and Jonathan Swift’s Gulliver’s Travels, even though all three deal with very adult themes. It is really only from the late 1970s and early 80s that fantasy was given its own shelf in the adult section of the library. So is there still a dedicated children’s fantasy genre? I think so. Although it has much in common with adult fantasy (similar plot lines, conventions etc) there are things (common to all children’s writing) that set it apart, such as: child protagonists, age appropriate language, sanitised plot lines (no or limited sex and violence). In addition, The Encyclopedia of Fantasy suggests that what sets children’s fantasy apart is the theme of transformation. This is a fantastical metaphor for the age-old theme of ‘coming of age’ that is found in most children’s writing for the 10+ group. As Lisa Tuttle explains in her Writing Fantasy and Science Fiction:
It is the ability to experience either a transfer of self from place to place or through time, or a change in being (from poverty to riches or from beast to beauty). The latter process is particularly important as it allows the child to come to terms with its own change from child to adult.
(Tuttle, p119)
Common fantasy sub-genre in children’s writing
The Encyclopedia of Fantasy suggests six common sub-genre:
- Worlds in miniature (eg Mary Norton’s The Borrowers)
- Secret gardens and hidden worlds where children can temporarily escape from real life (eg The Lion, the Witch and the Wardrobe, CS Lewis).
- Time fantasies where children travel to another era or encounter ghosts from the past. (eg Madeleine L’Engle’s Time Quartet)
- Other worlds (secondary worlds such as Tolkien’s Middle Earth or Ursula Le Guin’s Earth Sea)
- Wish fulfilment (Mary Poppins, PL Travers)
- Animal Stories (eg Dick King-Smith’s The Sheep Pig aka Babe!)
The following are the main conventions you’ll need to be aware of when writing fantasy:
- The fantasy world
- Myths, legends and fairy tales
- Magic
- Archetypes
- Landscape with meaning
- Maps
- Journeys
- Suspension of disbelief and internal logic
Ever since The Lord of the Rings, the stock setting for most fantasy books is a pre-industrial one, with much in common with Earth’s Middle Ages. However, ‘futuristic’ fantasies are becoming more common as the stock setting has been done to death.
Myths, legends and fairy tales
Elements of Celtic, Arthurian and Central and Northern European mythology are easily identifiable.
Modern fantasy has its roots in fairy tales, myths and legends – an imaginary past more than a real one. It is therefore less concerned with novelty and innovation than with old stories retold. Even the most inventive and original fantasy tends to look back to earlier epic tradition and what might be considered eternal truths.
(Tuttle, p22)
Magic
This is an almost essential element, as without it, ‘logical’ explanations would have to be found for fantastical events – that would make it Sci Fi, not Fantasy. Critics of Fantasy say that often the ‘magic’ reflects forms of occultic religion, unsuitable for children.
Archetypes
Fantasy is rich ground for Jungian psychologists: the wise old woman, the divine child, the young hero or heroine sent on a quest, helpful animals, a walled castle, the wasteland, the dying king, shape-shifting tricksters, dragons and unicorns. These archetypes have a pre-existing meaning for the reader, and are, to a degree, expected to appear in some form or another.
When they’re handled well, these familiar characters have the ring of truth about them, and seem both familiar and yet original; but if the author is lazy or unskilled they’ll come across as cartoons or clichés.
(Tuttle, p21)
Landscape with meaning
In fantasy, the landscape or ‘world’ that is created has equal importance with character and plot. However, resist the temptation to go overboard on description, and only include as much as is needed to further characterisation and plot.
Maps
Since Tolkien, these have become almost de rigeur in helping your reader to picture the world you have created.
Journeys
Much of fantasy fiction writing has a journey of discovery or ‘quest’ at its heart. We accompany the POV character on his / her journey, and this helps us to navigate through the new world.
Suspension of disbelief and internal logic
When writing fantasy you will expect your reader to suspend their disbelief as they enter your world and take it as you describe it. However, this doesn’t mean that anything goes. Every fantasy world has rules or laws that cannot and should not be broken. Characters need to act within the restraints of these laws. For example, dragons derive energy from the sun and can’t stay on the ground for long (‘Glint’, Ann Coburn, p26). As the creator of this world, you make up its rules, but you too must be subject to them.
A writing exercise:
Create your own fantasy world and write a story set in it. Ask yourself:
- What is the name of your world?
- What does it look like?
- Who lives there?
- Describe a typical child in your world.
- Is the world at peace or at war?
- If at war, who is the enemy?
- If at peace, what threatens that peace?
- Who rules your world?
- What are the ’10 Commandments’ of your world?
- What happens if someone breaks them?
The Gathering, by Isobel Carmody
Chapter QuestionsPrelude
From the very start of the novel, Carmody establishes Three North High School as an unpleasant, unsettling place. Students should draw a sketch of the school based on the description and label it with the relevant quotations.
Chapter 3
Nathanial wonders about Mr Karle’s role and then immediately thinks of the frightening yellow eyes.Creates a link between Mr Karle and the mysterious animal eyes.“What did it have to do with Mr Karle? I kept thinking of the yellow eyes…”
Nathanial links the club ‘The Gathering’ with Lallie’s “gathering of the dark”.Strengthens the idea that the club is evil.“Surely it was no coincidence that Mr Karle’s youth group was called ‘The Gathering’.”
Nathanial receives a strange phone call.Adds another element of suspense and mystery to the story.“There was a faint crackle on the line.”
Nathanial has a strange dream of a love triangle between two girls and a boy.He could be having a vision of the past. These characters could also have counterparts in the present day.” ‘Dance, dance, I dance with the wind…’ sang the other girl with bitterness under the words.”
Buddha threatens Nathanial when he won’t commit to joining The Gathering.Foreshadows Nathanial getting knocked out by the medicine ball.” ‘You can’t run forever…’ Buddha shouted after me.”
Nathanial is knocked out during the sports lesson.While unconscious, Nathanial encounters an evil presence which smells very much like Mr Karle.“His breath smelled terrible, like he had swallowed the abattoir.”2. Carmody often uses the eyes as indications of a character’s inner nature. How does Carmody describe Mr Karle’s eyes to show that he is evil?
Chapter 14
Chapter 21
Throughout the novel, the written word has been essential in uncovering the failure of the first Chain, through newspaper articles, magazines and diaries. Writing a book is also Nathanial’s method of prolonging the effectiveness of The Chain. The library is also a sanctuary from the evil drawn to Cheshunt. What value does this imply which lies in literature and literacy?
Further activities can be obtained at the Reading Australia webpage.
From the very start of the novel, Carmody establishes Three North High School as an unpleasant, unsettling place. Students should draw a sketch of the school based on the description and label it with the relevant quotations.
- What element of low fantasy is already present in this prelude?
- What do we learn about Nathanial’s relationship with his mother in this chapter?
- In this chapter we meet some important characters: Seth Paul and his father, Danny Odin, Buddha, Indian Mahoney and Mr Karle. From Carmody’s descriptions, some of these characters are likely to be enemies, some friends, while others cannot be decided upon as yet. Students should use the following table to sort out friend from foe.
Chapter 3
- What do we learn about Nissa in this chapter?
- What does the security guard tell Nathanial about Cheshunt both now and during its past?
- What are the two metaphors Carmody uses to describe Mr Karle’s eyes?
- Indian warns Nathanial not to look into Karle’s eyes. What does this suggest about the teacher?
- The Tod is becoming an important character. What do we know of him so far? What role does he play in Nathanial’s emotional life.
- In these chapters more elements of low fantasy appear in the character of Lallie. How is she made to appear an otherworldly figure? Think about what she says, her actions and appearance.
- How do we know that Nathanial is attracted to Nissa?
- Was Nathanial’s mother right to call the police when she finds him missing from home? What does their argument show about their relationship?
- In this chapter there is a strange gust of wind, similar to that which Nathanial feels in the car during the prelude. What could the wind be a sign of? (Clue: remember that this is a low fantasy novel.)
- What do we learn about Anna Galway in this chapter?
- This is a pivotal chapter in the book because the fantasy elements are finally in the open and our characters accept them as real. Make a list of fantasy elements which occur in the chapter. Share it with a partner to make a more complete list.
- What is the purpose of ‘The Chain’?
- This is quite a complicated chapter, with many story strands being developed. This table helps to summarise these strands.
Nathanial wonders about Mr Karle’s role and then immediately thinks of the frightening yellow eyes.Creates a link between Mr Karle and the mysterious animal eyes.“What did it have to do with Mr Karle? I kept thinking of the yellow eyes…”
Nathanial links the club ‘The Gathering’ with Lallie’s “gathering of the dark”.Strengthens the idea that the club is evil.“Surely it was no coincidence that Mr Karle’s youth group was called ‘The Gathering’.”
Nathanial receives a strange phone call.Adds another element of suspense and mystery to the story.“There was a faint crackle on the line.”
Nathanial has a strange dream of a love triangle between two girls and a boy.He could be having a vision of the past. These characters could also have counterparts in the present day.” ‘Dance, dance, I dance with the wind…’ sang the other girl with bitterness under the words.”
Buddha threatens Nathanial when he won’t commit to joining The Gathering.Foreshadows Nathanial getting knocked out by the medicine ball.” ‘You can’t run forever…’ Buddha shouted after me.”
Nathanial is knocked out during the sports lesson.While unconscious, Nathanial encounters an evil presence which smells very much like Mr Karle.“His breath smelled terrible, like he had swallowed the abattoir.”2. Carmody often uses the eyes as indications of a character’s inner nature. How does Carmody describe Mr Karle’s eyes to show that he is evil?
Chapter 14
- Now it is Mrs Vellan’s turn to have her eyes described. What are the connotations of having the whites of her eyes a “dirty yellow” ?
- What link could there be to Zebediah Sikorsky’s poem and the people Nathanial saw in his dream lit by a blood red moon?
- What are the details we learn from Anna Galway about past events at Three North Cheshunt? Which character could she be from Nathanial’s dream?
- What does Nathanial learn about what happened to Danny ‘a couple of years ago’?
- What does Danny’s simile about having to live like gorillas mean?
- What is the low fantasy ritual The Chain must complete in order to defeat the Dark?
- Why do the members of The Chain feel closer together by the end of this chapter?
- This chapter explores many ideas about what is meant by ‘evil’. What are three ideas about evil which are discussed in this chapter?
- What happened to Indian’s sister and how does this affect his behaviour?
- What does Irma Heathcote tell Nathanial and Indian about:
- Anna Galway?
- Zeb Sikorsky?
- Sam the Caretaker?
Chapter 21
- What echoes of the trip to the zoo appear in Nathanial’s dream?
- What happens to Cheshunt after Zeb Sikorsky’s court case?
- What happened to Nissa in the past and how does it affect her behaviour?
- Why do the feral dogs hunt after Nathanial?
- Where does the binding have to take place, according to Lallie?
- What does Sam say to indicate that he has been provoked into committing suicide? Who could have been provoking him?
- The killing of The Tod is a horrible act. What does it suggest that The Gathering could potentially do to the members of The Chain?
- As events are coming to a head, what kinds of emotions are Nathanial, Seth and Danny experiencing? How could they be playing into Mr Karle’s hands?
- Look back to the Prelude and read the description of Three North High School. How is the description of the abattoir similar? Why might this be so?
- Is Nissa’s unwillingness to love a strength or a weakness?
- What does Nathanial’s dream of Anna Galway and Zeb Sikorsky foreshadow about Nissa and Seth’s relationship? Remember that Nathanial believes that Anna and Zeb were part of a former Chain – a Chain which failed.
- This chapter is the climax of the novel. The scene in the abattoir is set up as a physical confrontation between The Chain and The Gathering, but this turns out not to be the case. What is the true battle and how is it won?
- How has the scene at the zoo foreshadowed Nathanial’s mother’s revelations about his father?
- Why do you think his father treated Nathanial’s mother so well while she was pregnant?
- What is the last evidence of magic being at work in the novel?
Throughout the novel, the written word has been essential in uncovering the failure of the first Chain, through newspaper articles, magazines and diaries. Writing a book is also Nathanial’s method of prolonging the effectiveness of The Chain. The library is also a sanctuary from the evil drawn to Cheshunt. What value does this imply which lies in literature and literacy?
Further activities can be obtained at the Reading Australia webpage.
Check out some of the links below to see how fictional worlds have effectively been created either in support of novels, by authors, fans, film adaptations or interactive role play games.