Welcome to our first “Writing Strange” lesson. In the above Book Riot video, we get a fantastic introduction to fabulism, and more specifically, Kelly Link, who is one of the more well-known and contemporary fabulist writers today. As described, fabulism is three or four “ticks” off from realism. We are often reading a realism setting but a character or event makes the premise wholly unrealistic, such as a ghost story set in a very real and familiar space or a werewolf walking into what would otherwise be a very normal and familiar cocktail party. What often defines fabulism from magic realism is that fabulist narratives are undeniably “unreal,” whereas many magic realism stories can be read as a “version” or perception of a very real narrative. Magic realism likes to meander in the hallucinatory and sometimes lightly spiritual planes, allowing the reader a choice in reading the narrative as offbeat realism or realism with a character-perceived magical element, whereas fabulism will make the reader accept the fantastical premise as actual to the narrative without taking us into the world-building of full on fantasy. View the below grid for a simplified view of how many readers define realism, magic realism, fabulism and fantasy. Then read our first story selection under “Reading Assignment.” Notice how fabulism sits somewhere between magic realism and fantasy.
A Very Brief Primer on Realism Vs. Magic Realism, Fabulism & Fantasy in Genre & Style
REALISMRaymond Carver Flannery O’Connor Ernest Hemingway |
MAGIC REALISMGabriel García Márquez Isabelle Allende Charlotte Perkins Gilman Toni Morrison |
FABULISMKelly Link Jeff VanderMeer |
FANTASYJ. R. R. Tolkien George R. R. Martin |
LiterarySome critics, editors and readers have determined realism and magic realism to be on the “literary” end of the genre spectrum. This is a designation that comes with a number of valid and problematic issues. For one, The Road by Cormac McCarthy is solidly claimed by the “high literary” community; however, speculative readers and critics validly claim the work as futuristic and fictional in its science. This is an example of how the “literary” and “speculative” categorizations as exclusive can be problematic. Most will agree that realism and magic realism value character-focused storytelling and less world-building-focused storytelling. There are more variations than what is listed on this genre and style spectrum, but this gives us a good primer for considering magic realism. |
SpeculativeSome critics, editors and readers have determined fabulism and fantasy to be more on the speculative end of the genre spectrum. This designation comes with a number of valid and problematic issues, too. For one, many speculative writers consider their work to be high literary as well as speculative. An example would be the Lord of the Rings trilogy. Many high literary anthologies, including Norton, will include Tolkien’s work as evidence of high literary fantasy. Most will agree that fabulism and fantasy value world-building more so than realist or magical realist stories. Again, there are more variations than what is listed on this genre and style spectrum, but this gives us a good primer for considering magic realism. |
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What Separates Magic Realism and Fabulism?Usually magical realist stories are set primarily in a real and familiar world with elements of magic realism that are fleeting, cyclical, often questionable and perception-based–i.e. is the character really experiencing this magical element or is the character’s experience merely hallucinatory brought on by drug use, alcohol, a bop on the head, etc. Magical realist stories and scenes can usually be read either way, real/hallucinatory and/or magical. Fabulism and FantasyFabulism and fantasy clearly identify the parameters of setting as being fantastical, magical and not of this world, including but not limited to character-based fantasy elements such as werewolves, vampires, etc. The werewolves and vampires clearly do not exist in reality, even if their story settings are real. Because these characters encapsulate wholly fantastical elements. These characters make the stories fabulist or fantasy. |
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REALISMRaymond Carver Flannery O’Connor Ernest Hemingway |
MAGIC REALISMGabriel García Márquez Isabelle Allende Charlotte Perkins Gilman Kurt Vonnegut |
FABULISMKelly Link Jeff VanderMeer |
FANTASYJ. R. R. Tolkien George R. R. Martin |
Reading Assignment
“The Specialist’s Hat” by Kelly Link
Discussion Assignment | Where Does “The Specialist’s Hat” Fall on the Aesthetic Spectrum?
Below, in the Discussion and Comments area, comment on where you feel Link’s story falls in the spectrum. Does it read more magic realism, fabulist or fantasy to you? Why? What does Link do well that you would like to further explore in your own writing? What would you change about Link’s narrative if you rewrote it?
Writing Assignment | Mimic the Fabulist Master
Kelly Link is an awarded and well-known writer of fabulism and fantasy. You are going to use her story, “The Specialist’s Hat,” as a jumping off point for your own fabulist story, 1000 words or less. Replace the twin sisters with two unique characters of your choosing. You could choose two of your own siblings or close friends or you could make up completely fictional people. Remember, this is a first draft and you’ll have plenty of time to revise and amalgamate your characters later so working from real people in your life is okay. Next, replace the babysitter with another authority figure: i.e., a supervisor, parent, teacher, etc. Finally, change the house to another setting: work, campus, a park, the beach, an edge of a cliff, etc. Retitle the work so to make it your own.
Guidelines, Submissions & Formatting
- Due Date: Sunday, 6 pm.
- Submission Link: Submit to the below forum.
- Submission Format: Attach an MS Word document in Universal Manuscript Format with the following format (this format is firm and universal). Double-spaced, 12 point font, Times New Roman, 1 in margins, heading with name, address, email, website (if applicable), and phone number on page one. Page two and forward should have in the top right corner your last name and page number.
- Word Count: 1000 words or less (this is firm)
- First Draft: As you write the first draft, let your creativity go where it needs to go. First drafts are meant to be messy and creatively uninhibited. After writing the first draft, lay it to the side for at least a day before revising.
- Second Draft: Read through again, and revise for language and lyricism. Consider, during this revision, how the two characters interact and what that might mean in a sociopolitical and/or human relationship way. How do they foil each other? Flesh out any sections that might further reflect this sociopolitical undercurrent of the work but be careful not to make this undercurrent too obvious. Let the reader have room to work this out for him or herself. Remember, we don’t answer questions for our readers, we simply prompt our readers to ask good questions. Giving our readers room to make meaning for themselves within our narratives is a sign of artistic and literary excellence. Now, lay the work aside for at least a day before your next revision.
- Third Draft: Now read this revision aloud as you record yourself. Upon listening to your recording, consider any language issues in your revision. You might also ask a trusted reader to read the manuscript aloud to you as you sit with your own copy and make revisions. Hearing our language aloud is one of the quickest and surest ways to improve pacing, tone, and cadence.
Please make sure to contact me directly with any questions regarding assignments and technology.
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