Author’s Interview: Olive M. Creed

Hi everyone! Ariel here with another author’s interview. Today’s author is Olive Creed, the author of Fallen King, the first fantasy novel in the series Chronicles of Elyndia. Thanks for being here with me today, Olive! I’m so glad to have you. As we’re starting off the interview today, could you tell us all a bit about yourself?

I’m a homeschool graduate who lives on a homestead with my family. When I’m not chasing chickens or writing, I like to experiment in the kitchen, paint, and play around with graphic design!

That’s wonderful! I’m also a homeschool grad myself, and I grew up out in the country with chickens and a giant garden, so I can relate. It can be lots of fun, though it’s also a lot of work! So, as I noted in the introduction, you do write fantasy, but what type of fantasy do you write, and do you write any other genres? Then, as a follow up, can you tell us why you chose that style or flavor of writing?

I write Fantasy, and it ranges from what I call Cowboy Fantasy (historical fantasy that’s not really based on one specific time period) to Dystopian Fantasy. I love dabbling in different genres, but love the world building that comes with Fantasy. I’ve attempted writing Modern Day Fiction, but it always ends up Fantasy!

That’s really interesting. I’ve never heard the term Cowboy Fantasy before, so you’ve taught me something new. I love historical fantasy though, so I’m sure it would be right up my alley! I also know what you mean about things always ending up fantasy. I’ve dabbled with sci-fi, but somehow, I always end up with either pure fantasy or cross-genre fiction with fantasy as the main genre. Now, most authors are also readers. So tell us, what genres do you read, and do you write the same ones?

I read a lot of different genres when I have the time to sit down and focus. As long as there’s no sex (preferably very little romance) no gore, and no horrible language, I’ll give it a shot! Though, currently, most of my books in my meager collection is Fantasy, LOL.

That makes perfect sense. A lot of authors seem to mostly read the genres they write, I find. If we enjoy reading it, chances are high we’ll also like writing it, though that’s only a general rule. So besides reading and writing, what are some of the things you like to do to relax?

I like to Role Play with friends, paint, bake, and cuddle chicks. Sometimes I’ll read or watch something, but it’s usually too much to focus on when I’m trying to relax, LOL

I hear you there! I like to watch things to relax, but often I need something that’s not going to require a lot of focus if I’m really going to relax. Even better is an activity totally unrelated to work! As someone who edits and writes for a living, it’s not always relaxing to go sit down and write or edit my own projects off work hours! I definitely understand wanting something else, and these activities sound like awesome ways to take a break physically and mentally. So this is one of the fun questions! What can you tell us about your current work-in-progress?

My current WIP is book three in my Chronicles of Elyndia series. It’s called Tainted Throne. I can’t say too much without spoiling the two previous books, but there’s lots of pirates in it!

Oh, how fun! I love pirates. They always make things more entertaining! So I kind of spoiled the answer to this question since I noted that you’re the author of the first book in the Chronicles of Elyndia series, but… I’ll ask anyway… If you’ve published (self-published or traditionally published), can you tell us a little about the experience? If this is your first experience, what has that been like?

I’m indie published, published my first book in August. I…still have not quite grasped marketing yet!

It was a little overwhelming hiring out edits and formatting and all that, but at the same time, it’s very rewarding! My editor has been a tremendous help keeping me sane and helping me along, and I’m very thankful for her!

That’s great! Sounds like you found yourself an excellent teammate to work with from the start. Editors really can make or break the process of prepping a book for publishing, and I’m glad you found a good one, especially for a first experience! So for the next question, let’s talk about gaining inspiration. For your current series, what were your inspirations for writing?

I take a lot of experiences I’ve had, blow them up to Fantasy Proportions, and then throw them onto my characters, LOL. Book one in my series, Fallen King, was inspired by a random image that came to mind one day while I was doing homework with my best friend. It was a lone survivor, bleeding and more dead than alive, standing in the middle of a massacre.

Those are some interesting sources of inspiration! It’s really neat to hear about where other authors get their ideas from. I work a lot like you do from the sounds of it, since I also tend to grab experiences I’ve had, things I’ve observed, and random inspirations that hit while living life to inspire my work. So now that we know a bit about your writing and your process, can you tell us who got you into writing when you first started?

My mum really got me into it. She’s a book worm, and I’ve been a storyteller since I could talk. I would entertain my younger sisters at bedtime with the most outrageous stories in existence! As I got older, my mum started encouraging me to write down my stories and learn how to write an actual book. My first attempts will never see the light of day! (Especially since most were lost in a house fire, LOL)

Oh, no! That’s so sad. I know I always smile a bit looking back at old work because it really shows how much progress I’ve made up to now, so I can’t even imagine losing the ones I felt were worth keeping to a fire! But it’s great that you had the encouragement to start writing from your mom! It’s always nice when family comes alongside to support you as a writer. Speaking of support, was there anyone who came alongside you at any point when you were struggling in your writing journey and made a real difference? If so, who and why?

My two best friends. I would not still be writing today if it wasn’t for them. One has been my best friend since before I started writing, and has encouraged me the entire way. Even when book after book was a complete “failure”. My other best friend, I met almost two years ago as I was editing the Chronicles of Elyndia series (back when it was one ginormous book with no consistent plot and a complete overwhelming mess.) She helped me straighten everything out and encouraged me to keep going when I wanted to quit.

Wow! Sounds like you had really solid friends. I’m glad they kept you writing! In light of your own journey as a writer, what advice would you give to aspiring authors and writers just starting on the writing journey?

The first book you write is likely not going to be the one you publish. And that’s okay! Don’t let anyone tell you that you’re wasting your time. You’re learning and perfecting the art of writing, and that takes time! Just write, and write for yourself first.

And if you want to write the craziest, whackiest, weirdest story ever, then write it! One, if you don’t enjoy what you write, chances are, neither will anyone else. And two, people love weird, crazy stories.

Those are definitely good points to keep in mind. I know I didn’t publish my very first book, and I actually published one that I later unpublished because it really never should’ve seen the light of day. It happens, and when we’re learning, we’re going to learn in different ways and make mistakes as we go. And the weirder the story, the better in writing, just as long as it makes sense! Sometimes the weirdest stories are the ones that most hold attention as you’re reading. In the same grain as the last question, what is one thing you wish someone had told you before you started writing?

Don’t take criticism from people who haven’t read your story. And, even if they have, just because they say something is wrong doesn’t necessarily mean it’s wrong. Use your Authorly Wisdom to discern what actually needs fixing, or what is just something they aren’t a fan of. 

Oh, yes! That’s a great point. I don’t know that I ever did that because my earliest writing experiences were with family as readers and critics and then with critique groups. But everyone and their mother will have an opinion, even if they haven’t read it. The worst thing to do is work off an opinion from someone who has zero context to form an opinion with! So, we’ve come to the last question, and I’ve tried to make this a fun one, though I know it’s a tough one for a lot of authors! What’s your favorite book, and who’s your favorite literary character? Why?

My favorite book ever is Dare, from The Blades of Acktar series by Tricia Mingerink. Favorite character? Leith Torren from The Blades of Acktar! *cue the fangirling* He’s a sweet, adorable, tough-as-nails assassin, and I love him!

Sounds like my kind of character! Well, that’s all for today, folks. Thank you for hanging out with me and Olive for the interview, and thank you again for taking the time to answer the questions I had, Olive! Best of luck to you with the rest of your series and your future writing endeavors!

Readers, if you want to check out Olive’s first-in-series, Fallen King, you can find it here. You can also follow Olive on Instagram and Facebook to see any updates she may post. Once again, thank you for being here, and I hope you’ll take a moment to check out Olive’s book and social media pages!

Author’s Interview – Steven E. Scribner

We’re back with another interview this week! Two in a row because I was sick last week and ended up off schedule, but next week we should be back on track for any remaining interviews with authors in Iron Walls that haven’t been spotlighted before. I’m hoping for one or two more before the release on October 26th! For today, we have Steven E. Scribner with us. He’s the author of “The Scapekite” in Iron Walls: A Burning Embers Dystopian Anthology. Steven, it’s a delight to have you on. Thank you for doing this! Let’s dive right into the questions.

First, could you tell us a little bit about yourself for readers who aren’t familiar with you?

I’m a high school teacher, amateur musician, part-time blogger and full-time nerd, living in the tree-y suburbs north of Seattle with my wife, Arleen.

That’s great! Sounds like you keep really busy with all of that. High school is a tough one for teaching too, so bravo for taking that on! So, tell us, what kind of dystopian did you write for this anthology, and why did you choose that style or flavor of writing?

My story is about a corporate dystopia; end-stage capitalism gone mad. This is a form of totalitarianism not as frequently seen in literature as world-wide political dystopias are.

Certainly an interesting take! My readers have probably gathered, if they’re reading both my blogs, that I’m extremely pro-capitalist, but I think we can all agree there comes a point where morals fail to properly restrain people and it can go too far. It’s important to remind people that no system is ever perfect or can fully restrain people’s behavior if they want to act badly. It’s definitely not the usual in dystopian tales though, so it’s great to see that so many of the authors in this group took on unique themes! Moving on from the type of dystopia for the anthology, let’s talk about genres in general. What genres do you read, and do you write the same ones?

I don’t have any particular genre that I choose to read; I like sci-fi, fantasy, “magical realist” fiction, realistic fiction, historical fiction, experimental fiction, and nonfiction about science, history, music and art. I mostly write fantasy and sci-fi because I find it fun to make up the worlds I write about.

Wow, that’s quite a range! I myself enjoy many of those genres, so it’s always nice to find fellow fantasy authors who enjoy reading a broad range of material. I think reading a broad array of writing actually enriches our writing regardless of what genre we choose, but I definitely find it helps when creating worlds for fantasy and sci-fi. Sounds like you’ve got a lot to pull from with what you enjoy reading. Now, besides writing, which some of us may find therapeutic and the rest of us wish we did… What are some of the things you like to do to relax?

Besides writing (really, I write for relaxation), I enjoy cooking, watching movies (sci-fi, drama, foreign films, animation, documentaries) and listening to music (classical, jazz, experimental, and musics from Asia, the Middle East, and Africa). I also like to go for long walks.

Ah, so someone who does find writing relaxing! That’s great. Music is at the top of my list for things to relax too! So going back to the writing stuff, can you tell us about your current work-in-progress?

Currently I’m working on the fifth book in my fantasy “Tond” series. The continent of Tond is located on earth but one has to go through a tesseract to get there. It’s been enjoyable inventing all the peoples, cultures, histories, languages, literature, music, and food of Tond. The first four books followed a large story arc; this fifth begins a new story with some new characters and a new (and maybe more subtle) villain.

That sounds really interesting. It also sounds like you’ve done a lot of work on the worldbuilding, which of course is a hallmark of a lot of fantasy and science fantasy! So obviously you’ve gone through the publishing process already, so I won’t ask what this experience is like if it’s your first! But could you share a bit about which publishing route you’ve gone and the pluses and minuses of that route?

My “Tond” series and one other novel are self-published. This has its plusses and minuses: I didn’t have to wait and re-submit over and over (authors often complain about the number of rejections), but it’s lacking in any kind of promotion so very few potential readers have heard of my books.

I’ve found the same myself. It’s definitely better in the sense that you have more control, but it’s certainly not easier with the lack of promotion to get your books out there! This next one’s probably one of my favorite interview questions. I absolutely love finding out where people started with writing and what got them hooked on it. So, tell us, what were your inspirations for writing?

I had written a few stories in school, but then one day in eighth grade, when I was walking in the hallway between classes, I started thinking about The Lord of the Rings (which I was reading for the first time). Out of nowhere, I said to myself, “I should write something like that someday.” I started writing fantasy. I finished the first version of the first “Tond” story a year later (I was in ninth grade). Over the years, my writing has changed quite a bit, but there are still threads from those early versions.

That’s great! Lord of the Rings was one of my absolute favorites as a kid. I probably read it six or seven times before my parents decided I needed to put my energy into reading new stuff and took the books away for a while! It’s definitely a great starting point for writers getting a handle on fantasy or those interested in the genre. So besides the inspiration Tolkien brought, who got you into writing when you first started?

I have to mention my high school creative writing teacher, and a professor in college, both who encouraged me to continue working on the “Tond” material.

It’s always wonderful to hear about teachers who encouraged writers to keep going. Sometimes that little push and a “well done” at the right moment is all we need to keep going. In light of that, writing can be hard, especially at first. It doesn’t necessarily become easier in every way, but what advice would you give to aspiring authors and writers just starting on the writing journey to help them out?

In the “Tond” books I make the metaphor: the universe is a song; add your own harmony. In the case of writing: it’s a story. Add your own chapter. This is more of a philosophy than concrete advice, but maybe someone needs encouragement to start writing.

Hey, sometimes the philosophy is the best starting point. Many of my favorite authors have given advice that has more to do with your mindset than the concrete aspects of the craft. You can learn the concrete stuff; your mindset is the one thing that will make you or break you early on, especially. I think it’s great advice. So one more question related to beginning authors and writers… What is one thing you wish someone had told you before you started writing?

Editing is a continuous process.

Absolutely! That’s probably up there on the list of things beginners need to be told. That and “you’re never going to get it perfect” are some of the most frustrating bits of advice to writers, but I think they’re the most needed ones. Now, moving away from the writing, let’s talk about you as a reader for a minute. Can you tell us what your favorite book is, and who is your favorite literary character? Why?

I have a lot of favorite books. The Lord of the Rings and C.S. Lewis’ “Space Trilogy” are two that I’ve enjoyed reading several times over the years. Other authors I like are Nnedi Okorafor, Arthur C. Clarke, Ursula K. Le Guin, and YA author Jerry Spinelli. I also like Julian Barnes’ biography of Shostakovich (“The Noise of Time”), Richard Fortey’s ruminations on natural history, and experimental fiction like Italo Calvino and James Joyce.

Concerning favorite characters, I always enjoy the archetypal “wise fool”. Sam Gamgee from LOTR fits in this category, as does Jerry Spinelli’s Stargirl, though otherwise they are very different characters. I suppose I like them because no matter how stupid I feel (don’t we all, sometimes?) I see that there’s still some wisdom to be gleaned from the situation.

Well, there are a few names on that list that I haven’t heard of, but they all sound interesting! Ursula K. Le Guin is one author I really enjoy when I have spare time to read. She’s an excellent author. So you’re hearing it from two fantasy writers and readers, everyone! Le Guin is another one of those solid fantasy authors worth checking out if you’re just starting to take a foray into fantasy. As for the characters, those are some great choices too. I’m not familiar with Spinelli’s Stargirl, but I loved Sam’s character in Lord of the Rings for the same reason you noted: he’s not the flashiest character, but he definitely has some of the wisest advice to offer. He’s probably the most underrated character in the book!

All right, everyone! That’s it for today. Thank you again for taking the time to do this interview, Steven! It was wonderful to have you on the blog, and I wish you the best of luck with your upcoming writing endeavors. Readers, you can check Steven’s work out on Amazon, and of course, if you haven’t already pre-ordered a copy of Iron Walls, you can pick up your copy here. There will be a paperback version for those who prefer a hard copy, but we’re currently going back and forth with Amazon over formatting issues, so the release is taking longer than anticipated. It may not be out until the release date of the ebook or after, depending on how long it takes to resolve the issues to Amazon’s satisfaction. In the meantime, the ebook goes live on the 26th of this month! All proceeds will go to Voice of the Martyrs.

Voices: Religion As A Writing Tool

Voices

Introduction

Voices by Ursula K Le Guin was the last book on my March reading list, and I actually finished on time, but I’m a little behind on posting the review. At any rate, I’m done reading it, so let’s take a look.

Reader’s Review: Voices

This is the first YA fantasy novel I’ve reviewed on my own without a request for a review here on the blog. Le Guin didn’t disappoint either. The piece is well-written and perfectly suited to this blog. I have read Le Guin before, as I read her Earthsea series when I was fourteen or fifteen. I loved those books, so I had high hopes for this book. And, as I said, Le Guin didn’t disappoint. She masterfully wove a story that captivated me with a rich story, a vibrant world, and dynamic characters.

The only real complaint I have is that it was in present tense at the beginning. I really don’t like that in books, but because it was first person and was almost written as an address from the MC to the reader, it was easier to move past. It did eventually switch to past tense as the full narrative got underway, and it was much easier to enjoy then.

The book is suitable for older children and teens. I’d say it’s fine content wise for anyone who’s at least twelve. The book does mention rape and abuse of women by the soldiers in the city where the book takes place, but nothing is actually shown or discussed in much detail. Similarly, there are one or two conversations the MC ends up roped into where one of the soldiers’ sons was talking about sex and trying to figure out if any women the MC knew would be available, but the MC shot the conversation down quickly and not much detail was actually given. The author keeps it PG-13. The language, to my recollection, was clean. Overall, I would recommend parental guidance for kids under twelve, but it is a YA book and stays appropriate for teens.

Writer’s Review of Voices

As the title hinted, our discussion today will center on Le Guin’s masterful use of religion in her work to bring the story and its civilizations to life.

I know some fellow authors who, as Christian authors, strongly object to religions besides Christianity being in their work. They won’t include any deities in their writing, made up or otherwise, that are not the Christian God or a representation of Him. I respect that, and if you’re in that camp, you’ll probably find this particular writer’s review rather useless to you. But if you do want to include deities and religions in your world for authenticity or other reasons, as many writers do, Le Guin has a lot to teach.

Her work Voices mainly represents two religions: that of the Alds and that of the people native to the city the Alds conquered before the book began. The two are in conflict to start because the Alds believe in and worship only one god, believe writing is evil, and see the gods the natives worship as demons that must be purged from the earth to make way for their god’s return.

To start with, they only conquered the city in an attempt to find the origin point of all evil, which their legends say is located in the city or the land around it. They march in and destroy all libraries, writings, and statues of the gods they find along with anything that they believe to be a temple.

The natives are then forbidden to worship any god besides the Alds’ god, and anyone found with books is killed. Naturally, this doesn’t sit too well with the natives who were used to their worship and to governing themselves. It creates a great amount of hatred, tension, fear, and suspicion.

Le Guin uses religion to add to the conflict as well as to bring the world to life. If you dislike stories where religion, even made up religion, takes a strong roll, Voices probably isn’t for you. But because religion is an indispensable part of the world, the conflict, and the story, Le Guin’s work is an excellent place to start learning how to use fantasy religions, or even real ones, to bring your story world to life and to add fuel to your fire of conflict.

I could go on and on about the ways Le Guin uses religion to add to her story, but I’m a firm believer in the idea that observation of how it’s done well is one of the best ways to learn when it comes to writing. So go read Voices. See how Le Guin uses religion and then apply the principles you see to your own work. You’d be surprised what this kind of practice and learning method can do for your writing. Good luck!

Some Monsters Never Die: Bringing Fantasy To Life

Some Monsters Never Die

Introduction

I recently finished reading Some Monsters Never Die by E.A. Comiskey, and let me say, I was impressed. More on that in a few. To start with, E.A. Comiskey is an author that I already know fairly well from working with her in our critique group. She’s awesome to work with, and when I put out the word that I was looking for fantasy books to review for The Fantasy Nook, she asked if I’d be interested in her book, Some Monsters Never Die. Boy, am I ever glad I chose to take her up on the offer.

Some Monsters Never Die: Reader’s Review

E.A. Comiskey really brought fantasy to life with this book. First off, it’s set in the real world in real (or fairly realistic) places, and that alone makes this piece seem more real than some. I loved the humor, magic, and larger than life events that moved the story along. The characters themselves were masterfully written. They’re also the most unlikely heroes and heroines. I mean, the female lead maybe works, aside from being a bookworm. But two old guys from a retirement home hunting demons and the unnatural?

Let’s just say it makes for quite the ride, and more importantly, it opens up all kinds of opportunities to grow on the parts of all the main characters. They set off on a quest all together and end it all together but as better, stronger people than they started out. Definitely worth the read!

Writer’s Review

Some books I’ve reviewed, like the Vine Witch, have done an excellent job of weaving magic into the world. Others have done a phenomenal job of world-building. But in this book, E.A Comiskey has managed to bring fantasy to life. Granted, most of the fantasy stuff she brought to life is the horrifying, monster side. The kind you never want to meet, right?

But, if it’s any consolation, her main characters are two old men and one bookworm woman. Not exactly the kinds of people you’d think would be able to handle things that belong in fantasy books as the antagonists coming to life, but hey. They manage.

And that’s part of what makes this book such a great piece. Comiskey took characters that seem so unlikely to succeed or even cope, with the exception maybe of the old guy who’s a hunter, and she threw them into a world where the horrors of a fantasy tale are all real. Skinwalkers? Check. Giant worm-like things that burrow in the ground and try to eat people? Also check. Dragons? Well… Stanley killed the last one a while ago, but beside the point.

Comiskey uses humor, unexpected heroes, and larger than life threats to really bring fantasy to life in this book. I’d label it as paranormal or maybe urban fantasy, but it’s by far one of the most unique takes on both genres that I’ve read in quite some time.

The Takeaway?

There’s lots to learn from and glean from reading this book, but for today’s focus, I have just one takeaway. Focus on how she weaves the monsters and their magic into every day life and then apply those techniques and principles to your own work. You may not be writing something that’s meant to be even a little bit funny. You may not intend to focus mostly on supernatural monsters and magic spells to kill them.

But if you’re writing fantasy, then there’s going to be some fantastical element you need to make real to your audience. And if you want to bring fantasy to life, especially if you want to do it in our world, Comiskey’s book will show you one way how, and it will do it well.

Don’t waste the opportunity!

Saturday Setups – GLobal Mapping: Terrain Features Pt. 1

Introduction to Terrains

Hey, everyone! I’m back this week with a post on world-building. Today’s post is the first to delve into the global side of mapping, and we’re looking at terrain considerations first. Terrain affects a lot of your world-building. After all, if your characters are living in a desert, their lifestyle will be far different from a character living in the jungle.

Not only that, the distance between various points and the terrain lying between those points will greatly affect things like travel time and how characters choose to travel. What you do with the terrain determines whether it’s easy to find water or difficult to find much needed resources.

With the importance of terrain established, let’s take a look at some of the things you need to put onto your map and work through. Keep in mind as you think about all this that the map you’re building doesn’t have to end up in the front of your novel. It doesn’t even have to be pretty. It just has to be functional so that you can use it for your own reference.

So, on that note, let’s get started.

Mountains

There are plenty of places you could start with mapping, but I recommend you start with your mountains. These majestic features will form the backbone of your world. Where they are placed will determine a great deal about the kind of land (lush and green or barren and sandy), the places where certain kinds of plants and trees can grow, and what types of animals will be found where.

Without being too technical, air flow is changed a great deal when it runs into mountain ranges, and that air current affects everything around it. It even affects how often it rains and how much rainfall an area might get, particularly if the land is close to the mountain range.

So place these first. You can worry about coastlines, forests, and cities later. Those are all important, but not this important.

As you’re placing those mountains, here are a few guidelines you should keep in mind.

First of all, mountain ranges occur mostly where tectonic plates have crashed into each other because land masses were closer than they should’ve been. Some of the mountains in these ranges may be volcanic, but you can have entire mountain ranges with no volcanic activity.

On the other hand, if you have single mountains with no ranges around them, they’re almost guaranteed to be volcanic. This means you shouldn’t place single mountains all over the place. The volcanic activity will have a big affect on everything around it, as you can imagine. Place these types of mountains carefully and with an awareness of what it does to the surrounding terrain and natural habitat.

Using these guidelines, you can end up with chains, ridges, long plateaus, and even circles of mountains.

Wherever there are mountain ranges, there should also be foothills and rugged terrain from where the ranges were worn down and weathered. Make sure you include these in your map for any planning in the later stages. It will change how cities and civilizations in those areas are built.

The last major thing you should consider is the extension of mountain ranges past the places where the coastlines may end up. Mountain ranges often form little islands or peninsulas, so this adds a more realistic feel to your fantasy world. You can use this and sprinkle those features here and there on the coastlines to help add to the believability of the world’s terrain.

Coastlines

The second place to fill in is your coastline. Before you can start mapping out major locations and country borders, you have to know how much space you’re working with. Drawing in the coastlines will help you to do this and will give you a framework to work within.

While working on this step, you should also decide the mileage on your map. In other words, decide how much space your world covers. This will help when you’re working on the global borders between countries, filling in the major cities, and even mapping those cities out on a more localized scale.

As a general rule of them, coastlines are fractal in nature when viewed from a distance. The continents are formed through the sorting of rock and soil by the plate tectonics. The heavier materials are on the bottom and the lighter on the top, which gives the coastlines the fractal appearance you see when looking at the contours of both the coast of a small territory and the coast of an entire continent.

However, there are things that can mess this up. Regions won’t look the same zoomed in or far away when you start including tidal flats or beaches, river deltas, mountains and glaciers (or a combination of the two), flat regions that include shifting barrier islands, or continents that haven’t had sea-level ice in a long time. To better understand how to map these features, if you want to include them in your world, you should study maps of these features on Earth. Understanding what it looks like in the real world and why it works the way it does will help you to develop a system that works for your own world.

However you end up choosing to shape your continents, make sure that the coastlines are–as a general rule of thumb–rough and ragged. They shouldn’t be smooth and pristine because that isn’t true to geographical features or to science. Fantasy may break rules, but even a fantasy world has some sort of plate movement and continental shaping that will be somewhat like ours.

Rivers

Rivers are next up. This is going to play a large part in defining the climate of your world. Plus, water sources are a must for life, and with your mountains and coastlines in place, you’re ready to start placing those rivers where civilizations often spring up.

This might be one of the simpler steps on your map since rivers follow some fairly simple, straightforward rules. And they don’t deviate from these rules unless you get a ton of magic involved. So, here are the rules you need to follow for your rivers:

  1. Rivers flow along the easiest path of least resistance: high elevation to low elevation. Never the other way around.
  2. As your rivers travel toward the coastlines, they will merge. They will never separate.
  3. Rivers going across flat land may change course by creating ever-wider loops. Eventually, however, the loops will pinch off and straighten the river back out.
  4. Rivers in mountainous regions may change course due to blockages or changes in elevation. But they will always find the path of least resistance and follow that.
  5. Rivers provide life to small towns and beginning cities. Wherever you have a river mouth, you’ll probably have some sort of civilization. So, if you know you want a city in a specific location, make sure there’s a fair-sized river close by.
  6. Lakes should only have one river flowing out of it toward the sea, never two. There’s only one lowest point, and that’s where the water will flow. The river may split off later, but it won’t with the lake.
  7. Deltas form when a river carrying sediment hits: a body of water (ie: lakes, oceans, reservoirs), another river that cannot carry away enough of the sediment quickly enough to stop buildup, or inland regions where water can spread out and deposit sediments. Keep in mind that the tidal currents can’t be too strong, or they’ll wash away the sediment.

Finally, the source of the river is important. Most rivers start in a mountain region somewhere since mountains catch a lot of water. However, they may also begin at lakes or in marshy regions. Some may also be fed by heavy rainfall for part of the year and be completely dry for the other part. The key is that wherever the source may be, the river won’t empty into the source as well. It will start at one point and end somewhere completely different.

Lakes

This section is fairly simple as well. Lakes usually form because rivers hit a basin of some sort or were dammed up by something. They may also form as a result of water collection in craters left by meteor impacts, but these sorts of lakes are fairly rare. The largest lakes usually occur because pieces of a continent pulled apart or glaciers carved them.

In cold, rocky regions, there are often many small lakes connected by rivers because the water is unable to carve through the ground and must simply filter from one pool to the next. This causes a tangle of rivers and streams connecting all the little lakes.

In hot and dry regions, you shouldn’t be including any significant lakes unless there’s a large river to feed them. Instead, you’re more likely to end up with salt flats or tiny lakes at the bottom of a dry basin. The lakes are likely to be very salty since they can’t drain off into the ocean. If you do have the river to feed it, the lakes are highly likely to overflow their shores and cause a larger drainage area, so keep that in mind when drawing your rivers in desert regions.

Lakes also shift their boundaries, but when they do so, it’s much more cataclysmic. If they fill or drain too much, they can destroy entire civilizations, so if they shift their boundaries, be ready to include the catastrophes it caused in your world’s history. The historical trauma is fairly common in the earlier stages of a world’s history, but as things stabilize, it becomes less common on a level that would be civilization-shattering.

Forests

The last thing we’ll cover in this post is forest placement. In a following post, I’ll discuss how you can determine where to place hot and dry regions, deserts, swamps, and hilly regions. But for now, this is a lot of information to digest, so I’ll stick to the prominent land features that you need to have a basic map.

That said, what do you need to consider for forests? First of all, forests usually spring up in areas with a temperate climate and ample rain. This means you could have massive forests covering large portions of your map so long as the climate isn’t too cold or dry. You won’t, therefore, see forests in prairie land or areas with a sub-arctic type of climate.

What kinds of trees are growing in your forest depends largely on the region. On Earth, mountains can house fir trees, pine, cedar, oak, dogwood, and a variety of other trees depending on what section of the mountain is being examined and the area the mountain is located.

Of course, on a fantasy world, there are likely species of trees that don’t exist on Earth, so the main goal with those species of trees would be to make sure they have features that will allow them to survive in the climate you’re placing them in. This means you’ll need to do some research on the types of trees and the features that make them suited for one climate or another.

Conclusion

Okay, that’s it for this post! There are a lot of considerations to think about when mapping out your world. As you work, don’t worry about being perfect. The map will be messy. And since it isn’t meant for anyone else’s reference, it doesn’t need to be pretty. If the map is pretty, it will only make it harder for you to trash it and try something different if you aren’t satisfied with it.

So, experiment and feel free to be loose, messy, and spontaneous. Try to be realistic about where you place things, but feel free to try different things, make different layouts, and change things up until you find something that you’re truly satisfied with.

Next time I post about world-building, we’ll take a look at global mapping and some other important aspects of terrain. We’ll also briefly go over the placement of cities and civilizations since you’ll likely want to show the more important locations on your map for your reference. However, I’ll leave the details of mapping the cities themselves for the section on local-scale mapping.

Feel free to share any techniques you like to use for mapping in the comments if you have them. We can all benefit from learning new ways to do things!

The United by James Quinlan Meservy – A Large Cast

Introduction

Hey, everyone! I’m here with a new book review for you all! Today’s is for The United by James Quinlan Meservy. He graciously provided me with a review copy when I mentioned I would be interested in having more reviews of different authors’ books on my blog. After he got in touch, we agreed that I would review his, and he was kind enough to provide a review copy so I didn’t have to purchase my own copy. I’m really excited to share this book with you guys, so let’s take a look! As always, the reader’s review is first followed by my review for writers. Don’t read that second review if you don’t want any spoilers provided for you.

rEADER’S rEVIEW

So, just being honest here… The beginning half was a bit hard for me. I don’t know for sure why because I did like the characters and the overall idea of the story–as I understood it–but I just struggled to wrap my head around what was going on. My main issue, I think, was the jumps that happened between the Realm of Light (Earth) and the Realm of Rai (which seems to represent Heaven or something of that nature). It was just difficult for me to make the jump between the characters in one place and the characters in another, and the fact that the Creatures of Rai could be in both realms was initially something that had me really confused.

However, once I got into it, I found that I did enjoy the book. The characters were written very well, and the way Meservy approached things was realistic and sensitive (when the issues being discussed called for it). The story itself was also a riveting plot line. I was intrigued by the legends and lore that was woven throughout the novel, and I think that was done pretty well. The incorporation didn’t feel heavy-handed or odd to me at all.

Sometimes, the fight scenes were a tiny bit difficult to follow though. Mainly because mind-control is a factor in a few (or I suppose mind-control in the form of causing someone to hallucinate and do things they wouldn’t ever do, like killing friends and family). Sorry for the slight spoiler there, guys! But basically, when characters end up under that mind-control, they no longer keep their own names or think of themselves with that name. They get this superhero pseudonym thing, so it’s a little hard sometimes to figure out who’s who in the hallucinations while they’re under the influence of the mind-controller. I didn’t like that too much because it just left me so mixed up and mentally fogged until the scene went back to normal. Still, it’s a relatively minor thing in the scheme of the entire story, especially considering the fact that the plot line was neat and the different mechanisms used in combat and in preparation for it were quite unique.

In the end, I would recommend it. It’s got a lot of clear references to Christianity and, I feel, presents things from a strongly Christian point-of-view without glossing over the fact that people make mistakes and lead lives that can have choices and events they end up regretting after coming to Christ (or even things they regret doing as a Christian). Because the book doesn’t shy away from openness about the fact that even Christian couples make mistakes and sin in the area of premarital sex, I wouldn’t say the book is one ultra-conservative Christians would label clean. Personally, I think that removing it would leave the book unrealistic and lacking, given the story James weaves. But, if you don’t want even the mention of sex included in your novels or in what your child reads, don’t pick this up. There aren’t any actual sex scenes or anything, but the characters are clear that they’ve had premarital sex and regretted it. So, yeah… If you’re not okay with that being brought up, The United might not be for you. Otherwise, it’s a good read.

Writer’s Review

Okay, now for the fun stuff! Picking apart The United to go over what was done well and what wasn’t. First, as the title hints, we’re going to talk about the large cast of characters that Meservy had, why it worked, and what he did well with it. The second thing we’re going to talk about is handling books where you have things going on in two different realms or worlds parallel to one another. This can get confusing for readers, and it did in Meservy’s book, so we’ll go over why it was so confusing and what you can do in order to alleviate some confusion for readers.

First, let’s go with the good things Meservy did with his large cast! To begin with, lots and lots of people died in The United. Straight up, lots of people end up getting killed when facing off with Lord Yrimwaque, and without his large posse of characters to continue on the story after two or three died, Meservy wouldn’t have had much of a story left. The villain would have won, and that would have been that.

However, because he had a group of friends plus several Creatures of Rai to play major roles in the story, you never ran out of characters. Granted, this could become overwhelming for the reader easily, but in Meservy’s case, it didn’t because so many of them died. In the first battle, they lost one out of the three who were involved (and the rest barely escaped). In the second battle, they lost another two, if I counted right. By the third battle, they lost two more, leaving Blaze, one of the main characters, as the only one really left who played a major role in trying to kill the villain. The Creatures of Rai all survived since all of them were dead to begin with and just passed from the Realm of Rai (Heaven) to the Realm of Light (Earth) either through evil means or by order of their Master (God/Christ).

Interestingly enough, Meservy never actually got rid of the characters he killed off. Instead, they become permanent residents of the Realm of Rai as Creatures of Rai, and they helped to offer guidance and protection to their friends who were still fighting back on the Realm of Light. This was achieved through dreams, which those of the Realm of Light wouldn’t fully remember but still found would guide them later on as premonitions of sorts, or through direct interactions between the Creatures of Rai and the inhabitants of the Realm of Light. In a way, it seems as if those who died became like guardian angels.

This, obviously, is a bit of a departure from Biblical narratives on what happens to mortals when they die, but given the fact that there’s a lot in the story that’s meant to be allegorical or is just creative license, I wouldn’t fault Meservy on it. It was an integral part to the story and not something I found to be particularly objectionable. You may not want to keep your cast of characters the same size using this method, but note that it is an option if you want to keep people around even though they’ve died. Ghosts are a common theme in a lot of paranormal fantasy, so it’s a viable option for you, though obviously your spin on it won’t be the same as Meservy’s has been.

Now, about what I felt wasn’t done well. I mentioned in my reader’s review that I found the start to be difficult to follow. It was confusing and jarring to jump from one world to the other with everything going on at the same time or at different times but with no clear markers on which was which.

This is something I’m fairly sure Meservy addresses later on in his writing since his short story for the anthology I’m organizing is in this same world and has clear headers to let us know as readers which realm we’re on and who it is that’s the viewpoint character. I found this to be a much more effective method of switching between realms because without those markers, it becomes very jumbled. This is, of course, one way of handling a similar situation in your own novels to avoid confusing readers or jarring them out of the story.

Beyond that, Meservy had a third realm, of sorts, and that was the realm of the mind. In this realm, the character only enters it when under the control of Lord Yrimwaque and the Threat, at least in The United. Once they’re in this realm, the characters cease to view themselves as themselves. They take on names like the Avenger, Traveler, Friend, and more. While in this state, they’re approached by someone from the Threat who masquerades as someone they want to follow, and, under mind control in the hallucination/mental realm, they do follow instructions. This leads to actions in the real world that frequently end with friends killing each other or one friend attacking and killing other friends. They can be snapped out of this realm when sprayed with water (for whatever reason this is the only method that works), but it’s usually too late to save anyone.

This mental realm was also confusing because the lack of names made it hard to follow who was who. So, while, eventually, I was able to figure out what was going on, I was never certain which character was the one being controlled until the mind control was removed and we were left with a fresh body count. This was pretty frustrating. If you have something similar, I recommend that you show them initially fighting it or slowly succumbing to it as their mind fades into the scene and they begin to think of themselves as this other character. That way, even if we don’t know for sure who they attack or what they do to those around them, we do know for certain which character we’re following. This just helps to ground the reader as they read through what might otherwise end up seeming confusing or disjointed/divorced from the reality built up in the rest of the book.

Conclusion

Despite the confusion at points in the book, I did find the storyline to be one I could follow and enjoy. I would recommend the book even if it wasn’t always the easiest to understand at times. The confusion wasn’t bad enough to make the book a no-go for me. It was more a minor frustration and distraction when it showed up and not even a problem the rest of the time. I loved the characters, and it made me sad any time someone died because even though I knew they weren’t gone forever, I saw the impact on those left behind, and it hurt for that reason. That means Meservy did quite a few things right, so I’d definitely say this book is one I can recommend without too much reserve.

You can buy the book through Amazon, and you can get in touch with James Quinlan Meservy through his website or his newsletter signup. I will be doing an author’s interview with Meservy to go along with this post, so once he has finished the questions, I’ll put that up!

Be on the look out for that and for my review of TN Traynor’s historical romance set in Scotland, which will be posted on March 7th. I know it isn’t the genre I usually review on the blog, but she and I are doing spotlights as part of my blog tour for On Twilight’s Wings, and because I know her work, I said I’d spotlight the book even though I normally wouldn’t do that for non-fantasy on the blog. I’ve already started reading the copy she sent me, and I’m really enjoying it so far! It’s better polished than Idi & the Oracle’s Quest was too, so I’ve been having an easier time reading it. There won’t be a writer’s review because it isn’t what I normally talk about on the blog, but I’ll have a review from my perspective as a reader along with a blurb, book links, and the cover. So for all of you who read romance too, you can look forward to that special feature come March 7th!

Saturday Setup: Creatures – Creating Your Own

Introduction

Any discussion of creatures and fantasy would be totally remiss if I didn’t cover creating your own creatures. After all, while we’ve got a plethora of well-established fantasy creatures, creating your own is one really fun way to put a unique spin on your world, and plenty of authors do it. There’s a variety of ways to achieve this goal, and we’re going to talk about some of the options available to you.

Option #1: Entirely New Creatures

First off, you have the option to create creatures that are entirely new. They’re not based on anything in existence, and they are all their own thing. When I think about examples of this, you’ve got the telfies from my book Bane of Ashkarith or some of the creatures in Brandon Sanderson’s works (though most modern fantasy creatures couldn’t be placed in this category, some of his could be, in my opinion.).

With the telfies from Bane of Ashkarith, they aren’t really based on any particular creature. I just kind of decided on the general appearance based on their diet and what I wanted them to be able to do. Some people have asked if they were dragons of some sort. The answer is a resounding no. (No offense to anyone who wanted them to be dragons. I like dragons, but these guys just aren’t it, and they’re not based on dragons either.) Given the fact that they have fur that can change color with their moods, a tubular body with no legs, horns, and no big nasty teeth (oh, and acid slobber if they decide they don’t like something), they’re not really based on anything recognizable. So, arguably, they’re pretty much entirely new creatures because of this. You could strip it down to basic components and claim they derived from some Earth-based animal or mythological beast, but that’s true of just about any creature.

For Sanderson’s work, the most clearly unique creature he created that doesn’t seem to be really based on anything clearly Earth-related is the chull. These are lumbering beasts with carapace covering their bodies. They’re herd animals that often get used in place of horses in terms of functionality, but that’s where the similarities in appearance pretty much end. The creatures definitely look unique. Depending on who’s doing the art and which type of chull we’re talking, some of them look sort of more like crabs than anything else, but others look as if they’re some sort of strange dinosaur with giant shells on their backs. I’ve put pictures below so you can have a better understanding on this one, but when you read the descriptions of them in the books, they definitely seem otherworldly and unique.

Axehounds are another creation from Sanderson’s Stormlight Archives that are pretty unique. On first glance, you’d think they’re basically just a type of dog, but when you get a look at the creatures, it’s hard to decide if they were based on dogs or something else. Arguably, this one isn’t quite as unique to itself as some other things, but it’s not a terrible example.

This is from ArtCanine on Facebook.
This is from StormlightArchive.fandom.com. As you can see, they do sort of resemble crabs. Kind of. But they’re not always this crab-like in appearance. The larger they are, the more different they look.

Option #2: Based On Mythological or Real Creatures

This is probably the most commonly used option for fantasy creatures. With this one, you just pick a mythological beast or a real animal from our world and tweak it so it’s different. Arguably, some would say, Sanderson’s chull are an example of this. Of course, this depends a bit upon which type of chull we’re talking about. That case could easily be made for at least the smaller varieties, at least. However, even if that example doesn’t hold true entirely to this category, there are plenty of things that do. I mean, just look at dragons. How many times have those been done? Thousands, right? And everyone has a slightly different spin on it, even if there are lots of similarities when you look at all the representations as a whole. So, they’re a perfect example of this category!

oPTION #3: cOMBINATIONS

Don’t feel like creating an entirely unique creature but also don’t want to just alter the usual suspects from Earth? Combinations are probably your best bet, then. With this third and final option, you take interesting features from other animals and blend them together. (You can do the same with mythological creatures or with animals and mythological creatures.) Some combinations are going to produce some pretty odd or grotesque creatures, but if that’s your goal, it’s easy to accomplish. Otherwise, you’re going to want to choose features that go well together or animals that wouldn’t look too strange when combined.

One example of this that I can immediately think of would be the Numahi from my novel, Pathway of the Moon. This creature shows up later on in the book and is described as having somewhat feline features like those of our big cats on Earth mixed with those of a bear. An odd combination? Maybe. But the different features of a cat and bear are not so bad that they would make an ugly creature either.

The combination possibilities are literally endless though. You can come up with so many different things, and this is a ton of fun. If you’re an artist, you can sit down and just sketch up some different ideas for how to combine things to see it visually. Even if you’re not an artist, you could do this if it helps you to visualize. No one else has to see it, right? Even if you don’t do that, if you can get a good mental image on it, you should be all set because you can write the description down to help others visualize it too.

Conclusion

Hopefully this has been helpful to those of you wanting to create your own creatures. There’s a lot that goes into it, especially if you’re creating your own creatures, so on upcoming Saturday Setups, we’ll be talking about things like determining habitat, types of animals, and creating your creatures around what their environment and feeding habits are (since these are the two most important factors that determine what a creature will look like and what features it needs.) Until then, happy writing, and thanks for joining me on today’s Saturday Setup!

Thursday Technicalities: Weaving World-Building Into Your Story – Through Your Character’s Eyes

Introduction

This week, we’re going to talk about weaving world-building into the story through your character’s eyes. There are multiple ways to go about weaving your world into the story, but one of the best ways is through your character. So let’s talk about how.

dISCOVERIES

The first way you can go about weaving your world into the story is to allow your readers to discovery it alongside your characters. When you have characters who haven’t experienced the world before, it’s a lot more acceptable to show more of the world in a way that’s overt instead of hidden in the lines between the action. Characters’ confusion over things in their world suddenly make sense because they don’t know anything about what’s around them to begin with.

Interactions

What if you don’t have a character who’s new to the world just like the reader is? You can still world-build and weave that building into the story. One great method for this is to develop the reader’s understanding of the world via interactions between your world and your character.

This method strongly goes back to the idea that your world is its own character with its own personality. No one person or world will interact the same way with each other. This method requires you to know a few things. You need to know your character, know your world, and know how your character views the world. These three determine how your character and your world will interact together.

Interactions can happen a lot of ways. It can happen through the character’s meeting with various creatures in the world. Or, maybe your character is a healer and spends much of their time gathering plants and supplies from nature. They might be an adventurer who has to brave the elements and the difficulties of terrain to reach their goal. Really, the possibilities are endless and allow you plenty of room to show the world to your reader. But the key with this method is that you should treat it the same way you treat an interaction between two characters. You won’t info dump on the reader because an interaction between two characters only reveals bits and pieces of both individuals, not everything. Instead, you’ll reveal only what is relevant to the interaction/scene and the story as a whole. Reveal what needs to be revealed then and no more.

The one difference between this method and an interaction between characters is that you may reveal things about the world that aren’t necessarily serving a specific purpose to the plot. At times, you may choose to reveal things about the world in interactions simply to make the world itself feel richer and more alive or even to reveal something about the person interacting with the world.

Happenings

The final main method for weaving world-building in has more to do with sentence-level inclusions and events. These may not be interactions with your main characters specifically, but they typically affect the character in some way or another. Otherwise, we wouldn’t be seeing it as the readers since you can’t show us what your viewpoint characters don’t see unless you’re using omniscient POV.

With this method, your world-building will be less obvious. It might be a common phrase that’s used by the inhabitants of the world or a common creature that is seen all over the place. It might be some sort of distant report of a creature terrorizing villages on the outskirts of a kingdom. Maybe it’s a brief mention of terrain in an area a character is occupying. One way or another, this world-building method usually doesn’t involve intrusive or overt mentions of the world. This is more subtle and is like the spice added to a dish. It makes everything read better, but your reader won’t notice the individual additions: only the whole of the writing’s flavor.

Conclusion

This type of world-building is more complex than what we often think of as world-building, but it’s also vastly more effective than what we usually see in most writing these days. It takes practice and instinct to do this well, but the instincts surrounding what type of weaving to use and how can be developed the more you write using the methods I’ve given here and in the previous post on this topic.

Saturday Setup – Creatures: The Usual Suspects

Introduction

This week, we’re moving from language creation to talking about fantasy creatures. Today, we’re just going to go over some of the typical fantasy creatures and what you ought to be considering for them. Mainly, this week’s post is going to be focusing on bigger creatures like dragons and sea monsters. It won’t be a long post, but I’ll discuss some things I think people overlook a lot when they populate their world with these monolithic creatures.

Problems Presented by Large Creatures

First off, most fantasy novels featuring dragons, giants, sea monsters, and their ilk never take the time to consider some very important factors. Given the size of these creatures, we’ve got a few issues: living space, temperament, and food.

With living space, you’ve got some leeway because if your world is vast and has lots of forests, mountains, and ocean that isn’t being ruined by mankind, then these larger creatures will be fine in this arena. But, it is something to think about. A dragon is by no means a small beast, and it’s going to need lots of room to fly, hunt, and live.

On the temperament side of things, you also have leeway. For creatures similar to humanity in their varied temperaments, such as giants, trolls, or other similar creatures, you may not need a particular environment to satisfy them temperamentally. But if your dragons prefer their privacy and really don’t like humans, you’re going to have a problem if they live near or on human territory. On the flip side, if dragons just adore humans and can’t stand trolls or giants, they might not be so happy living in the mountains or forests away from humans. These sorts of considerations have to be made.

Finally, food! This is the biggest one that nearly every fantasy novel with these creatures ignores. They have to eat something. They’re not going to survive on air, not with those big frames. So what are they going to eat? If they can’t get enough food from hunting big game, then they’re going to spend all their time hunting. A few measly deer from the woods or even a nice cow or two from the local village won’t sustain these creatures. They’re simply too large biologically for this to work, so you’ll have to find a way this can work if you want these guys in your world. Without that, it just isn’t going to make much sense. Granted, readers have been taught to just accept their existence, so you may get away with it on some level, but laziness doesn’t pay, and some subset of avid fantasy readers will notice.

Considerations

Now that you understand the problems, you should be able to figure out where to start for considerations. Take those three main problem areas and start asking yourself how you’ll solve them. Start thinking about what kind of personality your different large creatures have. It’s important that you don’t just throw generic fantasy creatures into your world to give it the flavor of fantasy. Doing that will end with your world feeling flat and unmemorable. So have fun with it. What makes your fantasy creatures unique, and how does that play into considering their needs in the environment around them?

Conclusion

That’s it for this week, everyone! I did promise it would be short. Next time, we’re going to talk a little bit about creating your own creatures. This can be a ton of fun, so I hope you’ll join me for it. See you there!

Saturday Setups – Factors to Consider

Introduction

Last time, we talked about languages and developing them, but this week, we’re going to briefly go over some factors to consider. Building languages is complex, so it’s important to break it down and go part by part. How far you go with it obviously depends, as we said last time, on what you want and need out of this exercise. Some people may just decide they need a few common sounds and aren’t concerned about an entire working vocabulary. Others will choose to go all out. Regardless, there are some factors you should consider when building the language.

Readability

First off, you should consider readability. Your reader is going to be seeing names and, in many cases, at least some words from the language you’re building. If you create a name like Aldafhjfd or some other such strange combination, people will have trouble processing it. Granted, even in real life, we’ve got names or words that we don’t know exactly how to pronounce, especially if we’re looking at a language like Gaelic or Welsh and don’t know the pronunciation rules. We’re likely to get it wrong. But we can still process it. We can still assign some method of pronunciation to the word, even if it might be wrong.

As writers, we expect that when we create our names or use unusual names from other cultures in real life, we’re going to have some subset of readers who may get close but a much larger subset that won’t get even close. So, our goal isn’t to worry about whether or not they can pronounce it properly.

Chances are that most of you wouldn’t know how to pronounce the name Leorithdhil, but you could probably come up with something that made sense to you, and you’d be content with it for the duration of the novel if need be. It doesn’t matter to me that you can’t pronounce it right. It does matter to me that you don’t trip up on the name or the word every time you see it. If you’re stopping to try to wrap your head around the sound of a word or name whenever you come across it, I’ve failed because those couple of seconds (or minutes, if you’re like me and try out every possible pronunciation method trying to figure it out) are seconds you can choose to stop reading because you’re no longer involved in the story.

That’s bad!

I don’t want you all to stop reading, and you don’t want your readers to do so either. So, before you do anything else, readability and ease of access for the readers should be at the top of your list of concerns.

SImplifying to Keep Your Sanity

Guys, let’s just be honest here. Building a language is hard. If you’re trying to build it from grammar rules up, it may make you want to tear your hair out, no matter how happy you are with the end result. I should know because I’ve done this. I still have stuff I’m tweaking with the language I’ve been building, but much of the grammatical side is already in place because I love grammar, syntax rules, and language in general. (If you couldn’t tell…) In spite of my love for those things, there were times when I sat and stared at the page in despair because I couldn’t figure out how to handle a problem that had arisen with the rules I’d created or with the way something fit together.

No matter what, you’ll have those moments if you do any extensive language building, just as you will with extensive world-building in general. However, you don’t have to dissolve yourself into a mushy mess that can’t think or function. Simplification is allowed. You’re not trying to create a language people in real life would be able to use for every situation. Even Tolkien didn’t do that, though he did give his fans a highly-developed, impressively functional language with more vocabulary than most language constructions have. Despite that, he still didn’t give them the amount of vocabulary necessary for every day conversation.

So, don’t feel you have to either. Create what you need first, then worry about adding to it as you feel like it, not worrying about or stressing out over it. Once you’ve developed what you need, the rest is icing on the cake. It isn’t necessary and shouldn’t be something that makes you want to bang your head into a brick wall repeatedly.

Simplification comes in quite a few forms. You could choose to remove letters from the alphabet, as we discussed last time, you could borrow grammar rules from other languages in real life, you could borrow sounds from languages around you, or you could even decide to limit yourself to creating words only as you need them. Whatever form of simplification you choose, do implement some simplification method(s). It will keep you sane!

How Much is too much

The last area of consideration I’ll cover is more of a question than anything. How much is too much? You need to figure this out before you start building, particularly if you’re going to use the simplification method of building only what you need. Knowing how much is going to be too much for your novel is really important. It keeps you from overloading your story and your reader with the overabundance of building you’ve done in this area.

Every story is going to be different in its requirements and what you can and cannot get away with. Every audience will have different expectations of you as an author and of the area of language building in particular. Know what those requirements, restrictions, and expectations are. If you don’t know them, you’re highly likely to disappoint your readers with too much or, in some cases, too little.

Once you know what your story and its audience require, limit yourself. Don’t go to the extreme of too much. Include what you know will be tolerable and enjoyable for your readers.

If you want to build beyond that, then collect it somewhere for your reference and for the reference of enthusiastic fans if you have them. There may be some fans who really want to learn more about this world you’ve built and the languages in it, but don’t write the book for those fans because they won’t be the majority. If you pander to them, you’re going to drive away your main audience: readers who just want a good story in your genre. Instead, make the further resources on the world and its culture, languages, and more available to those super-fans who really want to dig into it, but make it available outside the story. A glossary and further resources for readers section on your website is one good way to do this.

Conclusion

In the end, when language building, you have a lot of technicalities to consider. But those technicalities need to be framed properly with an understanding of your audience and their needs. Go with what your audience needs to access and enjoy your story. Leave the rest in notebooks for your own personal enjoyment or reference.