As I play with the Firebird concept, I find myself grappling with the rules of the world of fairy tales, which provide structure but also limitations that cannot be transgressed without losing the elusive flavor that distinguishes a fairy tale---a story bordering on the mythic---from ordinary literature. Some of the rules are relatively easy to discern. The hero or heroine usually begins with some substantial disadvantage. The ultimate task to be accomplished is difficult or obscure and may already have defeated any number of more obvious champions. Fantastical elements, usually in the form of magical creatures, enchanted objects, and spells to be completed or undone, are central to the story. The protagonist must face trials on the way to the ultimate goal and usually conquers by wits or noble character rather than force of arms.
Other rules that distinguish the fairy tale from other stories are more difficult to discern; many come under the heading of "I know them when I see them." J. R. R. Tolkien's Lord of the Rings trilogy smells of fairy tale through and through, as does his novella Smith of Wootton Major; the same author's Farmer Giles of Ham does not, even though it contains such common fairy-tale elements as a magical sword, a giant, and a dragon.
The fairy tale as a basis for more modern fantasies has a long and honorable history, ranging from Andre Norton's Year of the Unicorn (loosely based on "Beauty and the Beast") to Mercedes Lackey's Five Hundred Kingdoms series and Naomi Novik's Spinning Silver (a tale derived from "Rumpelstiltskin"). I'd like to add to that, but the challenge will be spinning a fresh story within the traditions and tropes that define the world of fairy tales. Creating something both old and new is certainly going to stretch my writing ability; I'm hoping it will be in a good direction.
Other rules that distinguish the fairy tale from other stories are more difficult to discern; many come under the heading of "I know them when I see them." J. R. R. Tolkien's Lord of the Rings trilogy smells of fairy tale through and through, as does his novella Smith of Wootton Major; the same author's Farmer Giles of Ham does not, even though it contains such common fairy-tale elements as a magical sword, a giant, and a dragon.
The fairy tale as a basis for more modern fantasies has a long and honorable history, ranging from Andre Norton's Year of the Unicorn (loosely based on "Beauty and the Beast") to Mercedes Lackey's Five Hundred Kingdoms series and Naomi Novik's Spinning Silver (a tale derived from "Rumpelstiltskin"). I'd like to add to that, but the challenge will be spinning a fresh story within the traditions and tropes that define the world of fairy tales. Creating something both old and new is certainly going to stretch my writing ability; I'm hoping it will be in a good direction.