Gabrielle Schwabauer, Staff Writer How can I demonstrate the variety of cultures and people groups in my story world without detracting from the main thread of the story? Surely one-off visits to unfamiliar cultures with one or two other characters (soon to be left behind) would quickly move from a novelty to a gimmick. Reluctantly, I began to consider multiple perspectives.
Addison Lucchi, Guest Contributor In my first post, I outlined several key elements that make a fairy tale what it is. Now I will endeavor to explain what it is that makes this kind of story truly important.
Addison Lucchi, Guest Contributor When I try to answer the “what is a fairytale” question in conversation, I usually answer the same way George MacDonald did: I simply recommend my favorite fairy tales… “Read Peter Pan!” I say. “Read Grimm, read Anderson, read Stardust, read the Narnia books… and perhaps by reading all of those, you will then understand what a fairy tale is.”
Jake Buller, Guest Contributor Sometimes when people talk about cross-cultural interactions, they put the emphasis on culture shock. What is more rarely spoken of (but common to the experience of those who cross cultures) is what is sometimes called reverse culture shock. It's getting culture shock in your own culture. It's also an aspect of story that is sometimes neglected by writers.
Jake Buller, Guest Contributor The very first time I set foot on African soil, I went straight to a village of mud-brick houses and took selfies with Liberian kids. Then, after nine months of helping people better themselves, I returned to the USA and slipped right back into my old life. Just kidding. That's not actually how it went.