'Make Fairyland Great Again' by N.T.O. Zamboni

We've had eras of fractured fairy tales rising in popularity, and it would appear that this is one of them.

This volume of fractured retellings was written in response to the results of the election last November and have proved even more popular than the author, N.T.O. Zamboni, expected.

Here's the blurb:

Normally, fairytales and fables teach important lessons:

Build a house to fend off deplorable wolves.

Don’t be tempted by candied false promises.

Beware of golden-haired thieves stealing your porridge.

But this is not normal. Trump is not normal. We need updated, 21st-century fairytales to warn against new threats. Tremendous threats. Crude, demented, racist, misogynistic threats. 

Make Fairyland Great Again is a collection of twenty-one revised folk stories and parables: Sleeping Beauty, the Frog Prince, Ali Baba, Rapunzel, the Pied Piper, the Three Little Pigs, and many more! 

(However, just like Trump himself, this book is not appropriate for children.)

There are quite a number available online to read for free HERE and HERE.

Your (free) choices are:

• The Ant and the Grasshopper
• The Emperor's New Clothes (an incredibly popular fairy tale right now!)
• Ali Baba and the Forty Thieves
• The Frog Prince
• Sleeping Beauty

Should you feel like reading even more or adding this book to your library (or supporting the author), you can find it HERE.

Mika Hirasa's Appliquéd Aesop

Mika Hirasa, also known as MICAO, 'draws' pictures using fabric and free motion machine embroidering techniques*, along with appliqué, fabric paint and other techniques as inspired. She regularly uses antique fabrics, lace, different types of thread and kimono fabrics and her use of space and color makes for some striking scenes. Cutting out bold shapes and stitching them as she goes, there's a certain inspired spontaneity and whimsy in her work, something free, unlike much embroidery which feels controlled and stiff. Her techniques mark her as a master, and one who is clearly so confident in her techniques that she can create as she goes. As a result her appliquéd illustrations for Aesop's fables bring a whole new way of thinking about the tales. 

Take a look. Can you tell which fables have been depicted?

You can see many more of her fabric illustrations HERE. It's also worth looking at her Red Riding Hood set HERE. So unique, yet recognizably LRRH. (Red Riding Hood is a featured character in much of her work.) And there was a limited line of clothing for kinder and preschool teachers, with a fairy tale theme you an see HERE.

*Free motion machine embroidery is becoming a more and more popular tool for fabric artists, each resulting in an individual style that is unique and not dissimilar to freehand line drawing. You can see an example of free machine embroidery HERE, by performance textile artist Harriet Riddell. (Start at the 3 minute mark to get right to it.)

Amanda Allen Niday's 'Protesting Princesses'

Inspired by the recent Women's March around the nation and the globe, artist Amanda Allen Niday, created a 'Protesting Princesses's series, reimagining Disney heroines in the Women's March series. It quickly went viral and caught the eye of Teen Vogue.

Teen Vogue, once considered a fluffy distraction for teens into fashion, is a magazine that's quickly gained respect for recognizing that young people can - and should be - as politically aware as their parents, and that having a penchant for gorgeous shoes and lipstick isn't at odds with that. Teen Vogue, with their finger firmly on the social pulse these days, didn't waste any time getting an interview with Ms. Niday.

Here's an excerpt:

Would Disney Princesses want to be a part of the revolution? Illustrator Amanda Allen Niday thinks so, and thanks to her, we have an idea of what they’d say.

“I felt inspired by the way women expressed themselves on their signs, from the witty and charming to the downright scathing. Women coming together from all backgrounds to say "we are HERE and we MATTER’.” she said. “I wanted to hold onto that message as my newsfeeds dissolved back into squabbling and finding faults in our difference, rather than understanding.” 

...Niday designed a sketch of each major Disney princess holding a protest sign that incorporated a quote the princess actually said in their movie. 

“I didn't want to put words into their mouths. I believed their narratives of overcoming struggles was powerful enough without me trying to force something else on them,” she said.

... She told Teen Vogue she used Disney Princesses for the project because she feels Disney has been making an effort to use the cartoons to remind girls that they’re brave, strong and valuable and wants to pay homage to that. To her, the princesses’ stories of resilience symbolize what girls or women can or should do.

But she also recognizes that women can protest in their own way. 

“Being strong when you are being told you are weak is a form of protest. Being yourself when you are being told that isn't acceptable is a form of protest. Never giving up hope is a form of protest. I wanted to show that we can control the narrative,” Niday said.

You can read the whole interview HERE.

Want a copy of those posters for yourself? You can get that HERE at Society 6. They also have the options of t-shirts, totes, bedding... and much more.

Architales by Frederico Babina

For many people - and characters in tales and books - their home reflects their personality and often, their story too. Designers for movies research this extensively and those paying close attention can learn more about characters by observing the places the various characters make their home. Fantasy movies tend to show this a little more elaborately and obviously but most designers do this to an extent, whether it's for the stage or the screen.

One architect and illustrator, Frederico Babina, is so fascinated by the concept that he combined his two skills and passions, to create dwelling designs on a particular theme - be they by zoo animals or film directors (the latter is definitely worth a look! Check Charlie Chaplin versus Stanley Kubrick for example).

We were delighted to discover he has also created designs based on fairy tale characters, their stories and other well known tales that many link to fairy tales.

"Beautiful fairy tales — like good architecture — are adorned with magic and mystery and supported by a solid structure,’"Babina says. "Like any great work of art, they encapsulate the maximum depth and the maximum simplicity."

‘Architale’ uses the built form, its shapes and innate geometries to convey key aspects of the story, transforming the buildings into ‘narrative objects’. For example, the long nose of Pinocchio becomes an extruded wooden window; Hansel and Gretel’s need for sweets is illustrated as a gingerbread façade; and the princess and the pea’s obsession with perfection is reflected in a carefully stacked structure — with a pea-shaped void. (source)

You can see the fairy tale specific ones (along with Peter Pan, Alice in Wonderland and The Wizard of Oz) in detail below:

Note: The ones not shown full size from the poster are: Robin Hood, Mary Poppins, The Sword in the Stone.

Fairy Tale Review's Charcoal Issue To Focus on Fairy Tales as Forms of Resistance & Protest (Submissions Open)

Artwork by Erika Rier

We feel this is possibly the only way to return to reporting regular fairy tale news at this time: standing with those who refuse to sit down. 

Thank you Fairy Tale Review. 

"Wands up!"

In a time when the shifting political and cultural landscapes of our world are becoming increasingly authoritarian, restrictive, intolerant, and frightening, we have decided to dedicate The Charcoal Issue to fairy tales as forms of resistance and protest. 

A remnant material left behind after a fire, charcoal is also a source with which new fires are created. So, too, is the way of resistance—born from the heat of difficulty and tragedy, but also the fuel we use to light the way forward. 

For the coming issue, we are most interested in fairy tales that challenge the current political climate, fairy tales that resist outdated norms or binaries, fairy tales that reconfigure the faults of older stories, and fairy tales that expose abuses of power. Fairy tales with, as Kate Bernheimer has suggested, “radical strategies of survival. Ways to get out alive.”  (Emphasis by FTNH)

Fairy tales that resist domination. Fairy tales that protest annihilation. 

Submissions will be open from January 1, 2017 to March 31, 2017. The Charcoal Issue will be published in early 2018.

Also, a comment from Fairy Tale Review's Instagram feed, posted with the image at the head of the post:

Sometimes, we feel as though we lack the words to explain what "fairy tales as forms of resistance and protest" mean to us. Sometimes, we need others to help us find the words. 

To that end, we feel very honored to have published "Suddenly," a short piece of nonfiction from Carmen Giménez Smith, earlier this week. 

If you are wondering how fairy tales or folklore could possible be resistance, we recommend reading Suddenly. It will also be very helpful to anyone wishing to submit to the Charcoal Issue.

We wish all those writers and artists looking to contribute, much inspiration, hope, bravery and the knowledge that you are not alone.

Very much looking forward to this issue, Fairy Tale Review!

How to Write a Killer Fairy Tale Retelling

Hi, Fairy Folk! This is Tahlia, editor of Timeless Tales Magazine. One of the most common questions I get from writers is what I look for in a retelling. So I thought I’d provide my top tips for how to nail your short story or poem, whether it’s a fairy tale, myth, or legend. Hopefully this will spark some ideas for our upcoming issue (Arthurian Legend theme, in case you hadn’t heard yet)...

Unsurprisingly, even before I created Timeless Tales, I read a lot of retellings. Not just fairy tales and myths either—Shakespeare, Sherlock Holmes, Jane Austen...you name it, I’ve devoured it. I’ve even had a few of my own published, back when I was writing more short stories than reading.*

So I thought I’d share some of the wisdom I’ve picked up along the way about how to produce a killer twist on a familiar tale.

1. Re-read the source material:

Never assume you already know the tale. Do a little research to dig up lesser-known facets that might inspire you. Better yet, read multiple versions of the story because, especially with the older tales, you'll find different details and even endings.

I admit I failed to do this with the first retelling I ever wrote, Two Knights in One Day. It was a take on Sleeping Beauty, but I only discovered after it was published, that the original contains a rather horrific plotline involving rape. Would reading this have changed my story? Hmmm...hard to be sure, but I probably would have put more of a conscious emphasis on consent in romantic relationships.

Another example is a TT submission I read a while back. It used the names “Anastasia” and “Drusilla” for Cinderella’s stepsisters. As an editor, my eyebrows immediately raised because those are the names the Disney movie gives them. It made the author appear a little amateurish because it felt like that was probably the only version they’d ever encountered! Even if the original doesn’t change your own story, you owe it to yourself to know what your version will be compared against.

#NotAllStepsisters

2. Question the Original. Especially ask "how" and "why":

Exactly how does Rumpelstiltskin spin straw into gold? Why didn’t Puss start helping the Miller’s son until after the Miller died? What makes the wolf's disguise so convincing to Red Riding Hood? Let’s be honest: most fairy tales don't waste time on explanations. Part of the fun is all the nonsensical happenings and illogical behavior, but you can add complexity and depth by tackling these issues head on. Don't’ feel like you need to address every oddity or answer every question, either. Pick one or two and stay focused on those.

Surprisingly, your biggest handicap in writing a retelling might be your love of the original. Being a huge fan of the original can actually blind you to its flaws and prevent you from taking risks.

I made this mistake with a Little Mermaid retelling I wrote. I absolutely adore Andersen’s lyrical prose. His descriptions of pain are just unbelievably exquisite. So my first three drafts spent waaaaaay too much time meandering through descriptive paragraphs in an attempt to emulate his style. It completely got in the way of the plot. Thank goodness the magazine’s rules forced me to cut my word count down. I realized that 3-4 pages could be deleted because they had just rehashed scenes from the original tale. Once they were gone, the pacing was dramatically improved.

On the other side, don’t be afraid to ask yourself what bothers you most about this tale? My Sleeping Beauty retelling I mentioned earlier emerged because I didn't like the idea of a guy kissing a girl without ever knowing her. So I wrote a version where the two could communicate while she's asleep.

3. Ask "what-if":

This is your classic elevator-pitch twist. It’s taking a key

building block in the original and replacing it with something new. This is a great time to play with setting, swap genders, and question innocence or guilt. What if Cinderella happened in Ancient Greece? What if the Little Mermaid was male? What if the witch wasn't evil?

In my experience, the strongest What-If retellings are the ones that fully develop the concept they’re presenting.  Don’t get lazy and treat your Ancient Greek setting like it’s a themed party. Slapping on some descriptions of marble columns and renaming Cinderella to Penelope isn’t going to make your story stand out. You’ve gotta dig deep, maybe do some (gasp!) research even. Ask yourself how your new setting changes the motivations of your characters and the outcome of the plot.  

4. Consider the Minor Characters:

I told my Sleeping Beauty story from the prince's perspective, but you can think even more outside the box than that! Give a voice to someone who is usually glossed over. What are Hansel and Gretel's parents' motivations? Don't stop at people, examine animals and objects too! What does the spindle think about for a hundred years? Don’t be afraid to even invent a character!

5. Do NOT Keep the Plot the Same:

It doesn't matter if you set it on the moon, from the perspective of the glass slipper, and make Cinderella annoying rather than sweet, if you keep the basic plot the same (orphan girl abused by stepmother, girl defies odds to go to party, girl wins prince), it will be predictable and probably boring. Take risks! Surprise your reader!

6. Mesh Two Tales Together:

This is probably my favorite technique to use. Find parallels between two stories and weave them into something new. I've done King Midas/Rumpelstiltskin and Hamlet/The Little Mermaid. Don't ask me why, but I get such satisfaction from bringing two very different worlds into harmony with one another. It turns the story into a puzzle for the writer and I get a big kick out of that element.

You can even mesh pop culture and folklore. Wouldn't Ocean's 11 and 12 Dancing Princesses make a fantastic combo??? You bet they would!

*”Two Knights in One Day”, my Sleeping Beauty retelling and “M’Lady”, my Dracula-inspired Cinderella retelling

This post was updated from a post on Diamonds and Toads from 9/28/2011

Timeless Tales Arthurian Legend Submissions Opening Soon

From Tahlia, Editor at Timeless Tales Magazine...

Writers! Dust off your Monmouth, your Malory, and maybe even your Monty Python, because Timeless Tales will soon be accepting retellings of Arthurian Legends!

The submission window will run from March 27 - May 5. Please see our SUBMISSIONS page for full details.

Special Note: Since this theme encompasses many stories, if you submit a retelling that heavily references a specific tale (ie, "Gawain & the Green Knight"), please include the name of the tale in your cover letter. We have a solid familiarity with this genre, but it is vast. So do us a favor and don't assume we're Medieval scholars.  

Also, just for our blog readers, here's a list of hopes and fears I have for this issue:

Fear: Pieces written in Old English. Maybe this is a long shot, but I know how passionate some professors are about the original text of these stories. I'm already having flashbacks to the Chaucer unit in my Sophomore English Lit class with all the crazy spelling...and I'm not just talking "Ye Olde Taverne" like you see at the Renaissance festival. True old English is like another language! I really want to retellings that are accessible to a non-academic audience.

Hope: Smart humor that isn't a total ripoff of Monty Python. One of my favorite takes on Arthurian Legend is Gerald Morris' Squire's Tale series. It mercilessly mocks the irrational plots and outlandish characters of the original tales, but you can tell the author researched his butt off for these books. There's a genuine affection behind the jests, too. I'd love to read some short stories or poems like that.

Fear: Too many love triangles. So many filmmakers and playwrights have reduced Arthurian legend to the Lancelot/Guinevere affair. Simply changing the setting to the wild west or modern day won't save this trope from being overdone. There's more to King Arthur than a tragic romance. 

Hope: Fairy tale crossovers. I especially hope someone sends me a tasty 12 Dancing Princesses/Knights of the Round Table mashup, but this genre is ripe for other combinations. 

So what are you waiting for? Get writing!