How quickly does the fantasy need to be introduced?

[AnyaKimlin]

I have an urbanish fantasy set in the 1980s and just put up part of the first chapter for comment. There were a couple of responses that asked where the fantasy was lol. I'm wondering how long I can go with just slight hints before I have to zap someone or hold a prayer circle or something. With fantasy it has never bothered me, but I do get annoyed if I get halfway through a murder mystery before anyone dies.

 

[alchemist]

Good writing might hold my attention for long enough, but in general, I prefer to know what a book is about fairly early on -- whether it's werewolves or pixies or vampires that form the fantasy element.

 

[HareBrain]

I think I'd expect at least a strong hint by the end of the first chapter (though I guess that should apply to any story -- you'd want some idea what it was about by then).

 

[Hex]

I think the argument is that the reader needs to know where they stand in terms of your world, so they don't feel ambushed when the fantasy arrives and solves something (or whatever).

I'm trying to think of an example of a book where you don't know early on what sort of magic you're dealing with and I can't -- maybe it's a modern thing (but Dracula is only about 1,600 words in when you get some mention of weirdness, even if it could be crazy superstition).

 

[Abernovo]

As someone who might have made that sort of comment, I suppose I should answer that, like HareBrain, I'd like to have at least a flavour of the fantasy by the end of the first chapter.

That said, it could be effective to hold off right to the end of the chapter, giving the impression of a normal existence with perhaps only a couple of hints of weirdness beforehand. Then, when the fantasy kicks in, you could show what a major impact, in terms of life change, it has upon your character(s).

 

[Dante DiBenedetto]

It sounds like it's UF that the main character ends up getting thrust into, as opposed to being a part of it.

I'd say, it should present at least a hint by the end of the first chapter.

 

[Boneman]

The Amber chronicles started in the real world, and didn't give a hint of fantasy for quite a while... If the writing is good enough, we'll be drawn along (and we'll have read the dust jacket...). I liked your 1,000 posting piece, but I do know I'd find it in the fantasy section, if it's fantasy, so I'd accept any opening. Yours is admirably good enough!

 

[Dozmonic]

If the cover and blurb declare the book well, then there's no need to rush into the fantasy elements unless you're planning on having the fantasy environment being a pivotal part of the story. In a character or plot centric book, the environment can often be interchangeable.

 

[Kissmequick]

Personally, I think it's important to set out, as close to the start as you can, what sort of book it's going to be (if it's going to be gritty and violent, frex, then you probably don't want to start with three chapters of fluffy kittens. Unless they are mauling crocodiles and guts are flying everywher). This is your promise to your reader. Now, if the focus isn't on the fantasy (it's only a small element) then you can get away with later on. But then, is it a fantasy? If fantasy is going to loom large in your plot, then I think you at least need to hint quite strongly that we aren't in Kansas any more, Toto.

There's more than one way to bring to magic to the front of the book (In Who Fears Death for example, the story is of a girl who only later finds out she has magical powers, so the story starts with the weird things that happen that are the first inkling, and then back tracks, setting up how she got there)

It doesn't have to be as overt as that, of course, but I think you need to give the flavour of the book quite soon. Be clear what sort of book it is. IMO, yada yada, it it works, do it etc etc

 

[Toby Frost]

Are you thinking of specifically supernatural/impossible things, or just items that suggest that we're not in the real world? If I heard someone talking about Blood Coast or the Tower of Narg, I'd assume this was a fantasy world and have no problems with it. Similarly, if we are in the royal house of a (perhaps vaguely Medieval and European) country I've never heard of. I certainly wouldn't feel cheated by not having a wizard fly in through the window until a bit later.

I've not got it to hand, but I'm pretty sure that nothing downright magical happens in The Blade Itself for quite some while, and likewise Locke Lamora, although it's clear pretty early on that we aren't in the real world.

That said, I agree with Kissmequick that although you don't need massive fireworks, the tone should be apparent or strongly hinted. Even if there are no murders until page 50, the opening pages of Noir Crime Novel could show our hero losing his last cents in a card game during a thunderstorm, or something like that.

 

[allmywires]

I like subtle fantasy so I think that it's fine to leave the introduction late. I've been criticised before for not making the fantasy clear enough in my opening but I'm not too bothered - like others have said, the blurb should make it pretty clear what you're getting yourself into, and it's the writing that will get me reading a book, not what kind of fantasy it is.

 

[Kissmequick]

I've not got it to hand, but I'm pretty sure that nothing downright magical happens in The Blade Itself for quite some while, and likewise Locke Lamora, although it's clear pretty early on that we aren't in the real world.

Like you say, the hints are there right from the off: Logen fighting (with an axe!) Shankas/Flatheads, described as 'men and beasts'. Fairly clearly not Kansas Locke is (from memory) handed over to a priest of a god that isn't in existence anywhere on earth. It's not outright 'Here's the magic guys!', but it is a subtle hint that we aren't here, we're over there.

Ofc that's second world, so mayhap it's easier because the whole world is different and you can just show how that difference manifests itself. But I reckon you can hint in a UF, you may just have to do it differently. For instance, there isn't much magic right up front in Rivers of London. But there IS a ghost right in the first few pages. In an oldy but goody, Wizard of the Pigeons, it's as simple as the opening line: On the far western shore of a northern continent there was once a harbour city called Seattle. That 'there was once' gives you the clue (which is expanded on fairly quickly).

You don't have to hit people in the face with it, but I think it should be there, underneath, for anyone who cares to see it.

although you don't need massive fireworks, the tone should be apparent or strongly hinted.

Like that.

ETA: A really simple exercise - pick up your favourite UF books. Note the first hint of anything that makes you think 'Aha! This is fantasy'. How far in are you?

 

[Colbey Frost]

For me I'd like to know almost straight away, but that's because I'm looking for a certain feeling when reading; a feeling that takes me away from where I am, to somewhere I'd rather be. Fantasy does this for me like no other genre and the sooner I'm in the blanket of another world, the better.

 

[Grimbear]

I think I'd want a hint of something in the first chapters. It could be subtle, but a definite hint of something not of the real, mundane world. I read fantasy books for the fantasy. If, halfway in, there still was no sign of anything I might put the book down.

 

[Colbey Frost]

I think I'd want a hint of something in the first chapters. It could be subtle, but a definite hint of something not of the real, mundane world. I read fantasy books for the fantasy. If, halfway in, there still was no sign of anything I might put the book down.

Half way in... I can't say I would get as far.

 

[Kreil]

a subtle hint that we aren't here, we're over there.

Just wanted to say what a beautiful way of putting it that is

To be on topic: you could put tiny dissonant elements in without having to reveal the major fantasy aspects so early on.

But I also agree that anyone reading it, whether an agent after reading your query/synopsis or a 'normal' reader basing their expectations on the back cover and what section of the bookshop they found it in, would know they're getting an urban fantasy and should be willing to wait for a while for you to bring it in. Especially with urban fantasy, of all genres!

 

[AnyaKimlin]

It is set in the 1980s Blackpool so not really otherworldly. At present only subtle hints happen for the first eight thousand words - a character has a funny smell, the six-year-old is a bit strange, and there is a parrot that knows more than your average bird would.

The trouble I'm faced with is the wizard doesn't appear until the end of the second chapter and he's on a date. Magic does happen right from the beginning but it doesn't become obvious until later that is what has happened. Would a prologue with their daughter doing the ritual/incantation that sets all the events in motion work?

 

[Glitch]

In this genre I think we keep it subtle to suggest this is happening in the real world, not some fantasy realm. I quite like this approach, and would continue reading even if the fantasy elements hadn't shown up yet providing the story had engaged me.

So I guess it's like any genre really. Do it well and people will applaud you.

I haven't read the recent piece you put up for critique yet, but I'm hearing good things about it

 

[MstrTal]

I am not sure how far into it the fantasy begins but in Kat Richards Greywalker series the fantasy isn't thrust upon the reader at the beginning. The main protagonist doesn't start experiencing the supernatural elements until either the begining of the second chapter of the 1st book or hints of it at the end of the 1st. To be honest it has been a while since I have read the series. I would say however that it does need to be toward the forefront of the book.

 

[Hex]

I think, though I may have misunderstood, that agents and whatnot tend to expect most of the setup for your world to happen in the first 100 pages. That gives you lots of space to leave revealing the magic until you want to.

On the other hand, I agree with those who reckon some flavour of magic or something would help set the tone -- Abercrombie has the Shankas as a clue that it's not our world -- but it's a pretty subtle clue. I picked up a little bit of weirdness from your hurdy gurdy thing -- it was enough for me to feel what you were writing had a slightly unfamiliar flavour.

[Nine Princes in Amber is an interesting example, since Corwin has amnesia at the start and the world is revealed to him as it is to the reader. If he hadn't lost his memory, could the fantastical elements be delayed that long without making the reader feel cheated? I think I'd have felt a bit irritated, but perhaps because of the direct first person voice?]