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BEVAN THOMAS

~ Writer, editor, storyteller

BEVAN THOMAS

Category Archives: Writing

Where Do You Get Your Ideas?

20 Tuesday Feb 2024

Posted by Bevan Thomas in Essay, Writing

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ideas, writing

“Where do you get your ideas?” is said to be the question above all others that writers hate getting asked, both because writers are so often asked it and because they often don’t have a good answer. You often aren’t thinking about where an idea is coming from, you just know to make use of the idea when it arrives. Also, each writer discovers ideas in their own separate ways, often in ways unique to them, so what may be a font of inspiration for one person may be a dry well for another. That said, to any aspiring writer on a quest for ideas, here are a few generally reliable sources:

  1. Your Own Life
    Many cartoonists in the underground comics movement preferred to write deeply personal memoirs instead of the outrageous superhero comics that were popular at the time because they strongly believed that “the stories that make up our lives are more interesting than the stories one usually encounters in comic books” (Chester Brown, The Little Man, p. 169). Even if your stories are full of superheroes or weird magic, you can give them depth by incorporating real feelings or events that you experienced. Stan Lee’s comics were ground-breaking in the 1960s because he made his superheroes, such as the Fantastic Four and Spider-Man, wrestle with feelings of inadequacy and self-doubt just like he did, which made the characters far more engrossing than the two-dimensional superheroes published by other companies. Always be aware of what is happening in your life and think about how it can be brought into the stories you create. Every person has experiences that can serve as powerful inspiration.

  2. Your Passions
    What do you love to do? What dominates your mind? Alan Moore developed an intense fascination for Jack the Ripper that he couldn’t quite explain, and from that produced From Hell, a graphic novel that explores Jack the Ripper and the culture of Victorian London with extensive detail and vision. Neil Gaiman was always compelled by the blurring distinction between dreams and reality, and from that created Sandman – the story of the king of dreams, and perhaps the most influential comic book series of the 1990s. What is important to you? Is it medieval Spain, baseball, the city of Medicine Hat, or Korean mythology? How can you present it in a way that is uniquely yours? What do you have to say on the subject that could be explored through a story?

  3. The World Around You
    Things are constantly happening every day, and you can receive inspiration for a thousand pictures and a thousand stories just by going for a walk and being attentive to what is going on around you. A strange inscription in chalk on the pavement, a tired old woman who looks like she carries the weight of the world on her shoulders, a snatch of conversation overheard on the bus, a man screaming at his pet gerbil – all of these could be woven into some grand narrative. And then, of course, there is the news. Open a newspaper, and you encounter shocking events on the front page, detailed biographies in the obituaries, curious beliefs in the editorials – a wealth of ideas there for the taking.
  1. Other People’s Works
    The one piece of advice that all creative writing teachers give is that the best way to improve your writing, much more important than taking lessons, is to experience a lot of whatever kind of story you seek to create – an aspiring screenwriter watches a lot of movies, an aspiring novelist reads a lot of novels, and an aspiring cartoonist studies a lot of comics. By seeing how a lot of other people have done the sort of story you like, you learn what works and what doesn’t. You can also use their ideas as a springboard for your own, taking them in a new, creative direction. However, don’t be afraid to incorporate elements outside your chosen medium. Many movies have taken inspiration from novels, novels have taken inspiration from plays, etc. A large part of the success of the graphic novel series Sandman was that it took many of the ideas and sensibilities of the fantasy novel (detailed internal narrative, complicated story structures, etc.) and adapted them for the fantasy comic book.


Defining What I Write

27 Monday Dec 2021

Posted by Bevan Thomas in Self-Reflection, Speculative Fiction, Writing

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occult

I’ve been spending a lot of my time trying to figure out what to call the sort of stuff I like to write — stories set in the modern world that use the supernatural as symbols to explore the psychological and emotional states of the protagonists. Though many of the stories are dark and some cross over into horror, I wouldn’t say that “horror” is a good umbrella term for this style in general. “Urban fantasy” is usually the term given to fantasy stories set in the modern world, and I find it’s a little too general for my taste. It tells nothing of the ambiance of the story, which matters more to me than the story’s physical trappings. The type of fantasy I’m going for are the deeper realities, the common ground of the stories of Algernon Blackwood and Jorge Luis Borges, and the comics of David B and Junji Ito. I needed to find some term that encapsulates works such as these and demonstrates how I feel about my own writing.

One may ask why it is so important to define what kind of thing you’re writing. Shouldn’t you just write what matters to you without thinking about how to classify it? Isn’t it limiting to give it a label? There’s certainly validity in that stance. However, I became especially intrigued about how to classify what I like to write when I decided to enter the UBC program because I realized that if I get a better sense of what, then that can help me figure out why, and if I can understand why I write, then that can help me in directing my work going forward.

I realized that for me it’s less important whether a story has anything literally magical than that it feels like magic. In exploring these psychological states, I want to produce a sublime sense of awe in the reader, what it would feel like to touch some deeper reality, some unnatural, sublime presence beyond their kin. I got a far truer taste of this kind of “fantasy” in Rosemary Sutcliff’s historical novel Sword at Sunset, whose protagonists feel like pawns of fate playing out some mythic tale, than in Margaret Weis & Tracy Hickman’s Dragonlance Chronicles, a story of wizards & dragons far more prosaically told. I then realized that there is an obvious word to describe this experience of an unnatural presence beyond our comprehension — “occult.”

The word “occult” comes from the Latin “occultus,” which means “hidden, concealed, secret.” In English, it can be used to mean something generally hidden or mysterious (“occult matters such as nuclear physics”) or more commonly used to mean something related to the supernatural, often with somewhat sinister overtones (“he joined an occult secret society dedicated to demon summoning”). This linguistic linking of “secret” and “supernatural” intrigued me, and I realized that it was able to really define what sort of stories are fascinating to me. Stories about the uncovering of spiritual secrets, the moments when someone discovers something profound that forces them to reevaluate their relationship to the universe, for good or ill. It’s the vision of Heaven or Hell that alters someone’s relationship to God, the ghost that forces them to confront their mortality, the magic spell that causes their reality to warp. It’s about feeling like you’ve reached the edge of your conventional view of things, and your next step will take you beyond the fields you know. It’s about that sublime uncertainty more than about any actual specific fantasy images. That sublimity is what fascinates me.

Such a story doesn’t need to have the literal supernatural. The brilliant movie Close Encounters of the Third Kind is incredibly occult in my definition of the term, as it’s all about how the coming of aliens transforms everyone’s views of reality and forces them to confront the wider universe. Robertson Davies’ psychoanalytical novels such as The Manticore are also occult as their explorations into Jungian symbolism force the characters to uncover the secrets of their psyches, which transform their relationship to the universe and themselves. They’re both about the feeling of touching some great truth, one so transformative that it almost feels supernatural. Now, most of my own occult stories are explicitly supernatural, but I’d like to think that they have more in common with Close Encounters of the Third Kind or The Manticore than they do with Harry Potter. I certainly want to capture that numinous feeling. I want my readers to feel like they’re peeling off a level of reality and encountering something hidden and profound underneath.

In short, “occult fiction” is what I like to write.


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