Today, I'm thrilled to bring you an article from Simon Lindley titled, World-Building 101.
Simon's new book, Mannethorn's Key, the first in the Key of Life Trilogy will be available on January 5th.
You can pre-order Mannethorn's Key, here on Amazon:
Simon's new book, Mannethorn's Key, the first in the Key of Life Trilogy will be available on January 5th.
You can pre-order Mannethorn's Key, here on Amazon:
world-building 101:
The Realm, The Land, Middle Earth, Narnia – I presume you have spent some time visiting at least one of them. I know I have. And, if all goes well with the ‘travel brochures’, Drageverden will soon be another fantasy ‘tourist’ destination. However, I expect people will only visit if the place promises immersive adventure!
World-building in fantasy is as critical to a plot as character development. When done well, it can transport the reader so absolutely that they yearn for the place long after finishing the book.
I’ll share with you some of my challenges, and the process I go through in creating a land that I am confident is not only believable but tangible, tactile and immersive for my readers.
One of the difficulties I’ve struggled with at times is purple prose. As writers, we sometimes lean to the flowery – long, buttery descriptives – waxing poetic, sprinkled with a fine, magical dust, like morning dew settling on the vine and… oh, I beg your pardon!
I have learned to 1) be succinct, 2) alternate between long and short/slow and faster-paced sentences, and 3) avoid overuse of adverbs. Purple prose detracts a reader as much as a similar life scenario. We’ve all been in one of those awkward moments when someone has talked for well over twenty minutes about, say, fruit flies because, well, they’re a fruit-fly expert, and we nod, and nod, and nod and mm-hmm — until we nod off.
Another habit I picked up came from kindergarten: Show & Tell. I love to tell people things. He saw a dog. Maggie was angry. The bird was tired. The danger is that by doing so, a writer creates a barrier rather than an invitation. We must ‘walk’ as we write, immersed in the land and noting its effect upon our character/s. I must show, not tell.
Like all trips we take, we discover as we go. I make an effort to step from character interiority back into Drageverden regularly, to generate an interaction between the two. It is easy to blurt out all the details of a place, but that is not how we naturally absorb our surroundings, and it quickly becomes tedious. Our character must shake as she enters the darkness of the spider’s lair, snap her head back at the whisper over her shoulder, brace with teeth clenched as the dust cloud rises from the horde cresting the last knoll – and we must be there with them.
Tolkien carried his readers along – experiencing the ground under a hobbit’s foot, smelling the foul mead and men of the Prancing Pony, and anticipating the Brandywine narrowing near the ferry, still far too distant to escape the Nazgul. He rarely tells. What’s more important is that no matter who you talk to, Middle Earth is different for everyone. Why? Tolkien let the scenes play out as much by emotion as he did geography and although he painted a vivid picture of the land, he left our conviction of and immersion in Middle Earth to fill in the deeper details.
So I haven’t provided you much regarding DrageVerden. Oh, I could talk, believe me – ask anyone who knows me and you’ll soon discover I rarely shut up — but you must ‘walk’ alongside the giants crossing the Arvian Plains to understand the shock of it all, or spend a day with Ka the drakehawk to experience her love for the Swamps of Ierloquetze. Brochures never do a place justice. You have to book the holiday.
Okay, okay! I’ll give you a little foreshadowing prior to your trip: Drage is Danish for dragon. Verden means land.
World-building in fantasy is as critical to a plot as character development. When done well, it can transport the reader so absolutely that they yearn for the place long after finishing the book.
I’ll share with you some of my challenges, and the process I go through in creating a land that I am confident is not only believable but tangible, tactile and immersive for my readers.
One of the difficulties I’ve struggled with at times is purple prose. As writers, we sometimes lean to the flowery – long, buttery descriptives – waxing poetic, sprinkled with a fine, magical dust, like morning dew settling on the vine and… oh, I beg your pardon!
I have learned to 1) be succinct, 2) alternate between long and short/slow and faster-paced sentences, and 3) avoid overuse of adverbs. Purple prose detracts a reader as much as a similar life scenario. We’ve all been in one of those awkward moments when someone has talked for well over twenty minutes about, say, fruit flies because, well, they’re a fruit-fly expert, and we nod, and nod, and nod and mm-hmm — until we nod off.
Another habit I picked up came from kindergarten: Show & Tell. I love to tell people things. He saw a dog. Maggie was angry. The bird was tired. The danger is that by doing so, a writer creates a barrier rather than an invitation. We must ‘walk’ as we write, immersed in the land and noting its effect upon our character/s. I must show, not tell.
Like all trips we take, we discover as we go. I make an effort to step from character interiority back into Drageverden regularly, to generate an interaction between the two. It is easy to blurt out all the details of a place, but that is not how we naturally absorb our surroundings, and it quickly becomes tedious. Our character must shake as she enters the darkness of the spider’s lair, snap her head back at the whisper over her shoulder, brace with teeth clenched as the dust cloud rises from the horde cresting the last knoll – and we must be there with them.
Tolkien carried his readers along – experiencing the ground under a hobbit’s foot, smelling the foul mead and men of the Prancing Pony, and anticipating the Brandywine narrowing near the ferry, still far too distant to escape the Nazgul. He rarely tells. What’s more important is that no matter who you talk to, Middle Earth is different for everyone. Why? Tolkien let the scenes play out as much by emotion as he did geography and although he painted a vivid picture of the land, he left our conviction of and immersion in Middle Earth to fill in the deeper details.
So I haven’t provided you much regarding DrageVerden. Oh, I could talk, believe me – ask anyone who knows me and you’ll soon discover I rarely shut up — but you must ‘walk’ alongside the giants crossing the Arvian Plains to understand the shock of it all, or spend a day with Ka the drakehawk to experience her love for the Swamps of Ierloquetze. Brochures never do a place justice. You have to book the holiday.
Okay, okay! I’ll give you a little foreshadowing prior to your trip: Drage is Danish for dragon. Verden means land.
A great introduction to World-Building. Thank you Simon. Do check out Simon's upcoming release.
Till next time, have a wonderful, peace-filled day!
CHOOSE TO BE HAPPY!
EMBRACE THE OPPORTUNITIES LIFE PRESENTS TO YOU AND ALWAYS, ALWAYS FOLLOW YOUR DREAMS!
HAVE A GREAT LIFE AND SPREAD THE LOVE!
CHANGING THE WORLD – ONE READER AT A TIME
EMBRACE THE OPPORTUNITIES LIFE PRESENTS TO YOU AND ALWAYS, ALWAYS FOLLOW YOUR DREAMS!
HAVE A GREAT LIFE AND SPREAD THE LOVE!
CHANGING THE WORLD – ONE READER AT A TIME
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