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High fantasy

Genre overview[edit] High fantasy is defined as fantasy fiction set in an alternative, entirely fictional ("secondary") world, rather than the real, or "primary" world. The secondary world is usually internally consistent, but its rules differ in some way(s) from those of the primary world. By contrast, low fantasy is characterized by being set in the primary, or "real" world, or a rational and familiar fictional world, with the inclusion of magical elements.[1][2][3][4] Nikki Gamble distinguishes three subtypes of high fantasy:[3] Setting[edit] In some fiction, a contemporary, "real-world" character is placed in the invented world, sometimes through framing devices such as portals to other worlds or even subconscious travels. High fantasy worlds may be more or less closely based on real world milieux, or on legends such as the Arthurian Cycle. Characters[edit] Many high fantasy storylines are told from the viewpoint of one main hero. Good versus evil[edit] Saga or series[edit] See also[edit]

Imaro (novel) Imaro is a sword and sorcery novel written by Charles R. Saunders, and published by DAW Books in 1981. It may have been one of the first forays into the sword and sorcery genre by a black author.[citation needed] The novel is a collection of six short stories ("Mawanzo", "Turkhana Knives", "The Place of Stones", "Slaves of the Giant Kings", "Horror in the Black Hills", and "The City of Madness") which were originally published in Dark Fantasy, a fanzine published by Canadian comic book artist Gene Day during the 1970s. Imaro was the first book in a proposed series of novels about the eponymous hero set in the fantasy world of Nyumbani, but a lawsuit by the Edgar Rice Burroughs estate over a poorly chosen cover quote (The Epic Novel of a Black Tarzan) caused a one-month delay in shipping as the books had to be reprinted which led to poor sales.[1] Saunders wrote and had published two more books in the series, The Quest for Cush in 1984 and The Trail of Bohu in 1985.[1]

How to Create and Publish a Novel as a Teenager I was just falling asleep when Rory ran into my room, signing madly. I usually had a pretty good grasp on sign language, but I couldn’t really register what was happening. He was moving too fast. I told him to calm down and start over. “Just sleep with me,” I said, pulling him into bed. “Don’t let your imagination get the best of you,” I said. “How about I keep the lights on?” I awoke startled to the sound of my doorknob rattling. “Sarah! I jumped up and unlocked it. “He was really, really scared last night so I let him sleep with me,” I yawned as I passed her. “Awww,” she said, scooping him up and following me downstairs. “Poor kid. “It’s not that bad, really,” I responded, trying to comfort her. “Do you remember any of them?” “Um, there was one sort of like this,” I said, trying to copy the motion. “You sure?” “Yeah, I don’t know. “That sign you just made means ‘man,’” she said thoughtfully. I looked up startled. “He was dreaming,” I said dismissively. “I just—” my mother began to say.

The Brothers Grimm Jacob Ludwig Carl and Wilhelm Carl Grimm, known collectively as The Brothers Grimm, were German linguists born in the late 18th century, who, in an effort to preserve Germany's heritage and promote cultural unity in a period of political disunity, collected a vast array of folk tales from their fellow Germans (mostly middle-and upper-class friends). The brothers eventually published these stories in the famous collection which they called Kinder- und Hausmärchen (Children's and Household Tales), but which is generally better known among English-speakers as Grimms' Fairy Tales.While the original intent of the collection was to preserve the stories exactly as told, the Grimms gave in more and more in each new edition to the temptation to make various "improving" alterations. of the Grimms' stories are now considered shockingly violent — and at least one of them, "The Jew in the Thorns" , notoriously religiously insensitive. (Similar stories

Legend (novel) A legend is a historical narrative, a symbolic representation of folk belief. Legend may also refer to: Urban legend, a widely repeated story of dubious trutha fictitious identity used in espionage Legend, original name of Christian rock band Legend SevenLegend, a rockabilly band fronted by Mickey Jupp Aeropilot Legend 540, a Czech ultralight aircraft Legends car racing, a 1930s and 1940s car body style used in car racing (INEX)Honda Legend, a Honda car model now marketed as Acura RLAcura Legend, another car marketed as Honda Legend outside North AmericaMahindra Legend, a four-wheel-drive vehicle Triumph Legend TT, a 4 stroke-engined motorcycle from Triumph Legend, brand name used in Europe by American boat manufacturer Hunter MarineCarnival Legend, a Spirit class cruise ship operated by Carnival Cruise Line "The Legend!"

Monomyth Joseph Campbell's monomyth, or the hero's journey, is a basic pattern that its proponents argue is found in many narratives from around the world. This widely distributed pattern was described by Campbell in The Hero with a Thousand Faces (1949).[1] Campbell, an enthusiast of novelist James Joyce, borrowed the term monomyth from Joyce's Finnegans Wake.[2] Campbell held that numerous myths from disparate times and regions share fundamental structures and stages, which he summarized in The Hero with a Thousand Faces: A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[3] A chart outlining the Hero's Journey. Summary[edit] In a monomyth, the hero begins in the ordinary world, and receives a call to enter an unknown world of strange powers and events. The 17 Stages of the Monomyth[edit]

WALS - The World Atlas of Language Structures The Gods of Pegāna The Gods of Pegāna is the first book by Anglo-Irish fantasy writer Lord Dunsany, published on a commission basis in 1905. It is considered[by whom?] a major influence on the work of J. R. R. Tolkien, H. The book contains a range of illustrations by Sidney Sime, the originals of all of which can be seen at Dunsany Castle. Aside from its various stand-alone editions, the complete text of the collection is included in the Ballantine Adult Fantasy collection Beyond the Fields We Know (1972), in The Complete Pegāna (1998), and in the Gollancz Fantasy Masterworks omnibus Time and the Gods (2000).[4] Contents[edit] Reception[edit] New York Times critic John Corbin described Dunsany's debut collection as "an attempt to create an Olympus of his own and people it with an assemblage of deities, each with a personality and a power over human life acutely conceived and visualized. . . . S. The pantheon[edit] Mana-Yood-Sushai[edit] Skarl the Drummer[edit] The small gods[edit] Kib, The Sender of Life.

Write or Die by Dr Wicked Adventures of a Bookonaut The Worm Ouroboros The Worm Ouroboros is a heroic high fantasy novel by Eric Rücker Eddison, first published in 1922. The book describes the protracted war between the domineering King Gorice of Witchland and the Lords of Demonland in an imaginary world that appears mainly medieval and partly reminiscent of Norse sagas. The work is slightly related to Eddison's later Zimiamvian Trilogy, and collectively they are sometimes referred to as the Zimiamvian series. Plot[edit] The framing story having introduced the chief lords of Demonland — the brothers Juss, Spitfire, and Goldry Bluszco, and their cousin Brandoch Daha — the story begins in earnest with a dwarf ambassador from Witchland arriving in Demonland to demand that the Demons recognize King Gorice XI of Witchland as their overlord. Juss and Brandoch Daha return home to Demonland and then start an expedition to rescue Goldry Bluszco from his terrible prison, somewhere past the mountains of Impland. Characters[edit] Emblem of Demonland Emblem of Witchland

Advanced Fiction Writing Home Page Ordinary Thunderstorms by William Boyd | Book review If readers surfacing from the hectic activity of Ordinary Thunderstorms's opening chapters suspect that William Boyd has set himself the straightforward task of producing an efficient, multi-stranded thriller, a clue soon emerges to hint at a more complex literary purpose. A plot strand involving the evil machinations of the global pharmaceutical industry introduces us to a drug named Zembla-4, the reference leading not only to the imaginary kingdom of Nabokov's Pale Fire but to Boyd's novel Armadillo, in which he coined the word "zemblanity" to describe unhappy accidents, random occurrences that are the very opposite of serendipitous. In brief: Adam, a climatologist in flight from America and a sexual indiscretion that has thrown a spanner into his marriage and his academic career, is in London for a job interview. Boyd's intention appears to be a mini-exploration of the nature of modern citizenship combined with a picaresque tour of the various strata of British metropolitan life.

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