Flash Fiction Fridays: Face-to-Face

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This week’s flash fiction doesn’t go with anything in particular. It’s just a short piece based on the idea of portals and what someone might do if they found one or what they might find on the other side.

~~~

Molly stared at the portal in the small cave. It hadn’t been here yesterday when she’d found the cave in the woods of her new property. Granted, she hadn’t been looking too closely, but she wouldn’t miss a glowing light emitting from the cave, would she?

She glanced around. Should she tell someone? Maybe. But if she did, then she’d have people swarming the property to get a look and reporters hounding her for a story. She bit her lip. Best to keep it to herself. But since she was keeping it to herself, she’d better have a closer look at it, make sure nothing dangerous would come out of it. Like dragons or something. Dragons didn’t exist, of course, but then again, neither did portals, so maybe they did. Regardless, she couldn’t afford trouble coming onto or off of her property. Not after she’d just moved here to get away from the trouble back home.

Heaving a sigh, she climbed down into the cave and trudged to the portal. It didn’t look dangerous. Still, she could be mistaken about it. It might not be a portal. Maybe it was some sort of laser that chopped things to bits. She picked up a stone and chucked it through then walked around to the other side of the glowing portal thing. No stone. Well, whatever this was, it either vaporized things or it was a portal. She could check the vaporizing theory at least. Climbing back out of the cave, she found a stick with good length to it and managed to get it back down into the cave. She shoved that into the portal thing and pulled it back out. Nothing looked any different about the stick. Huh. Maybe it really was a portal.

One way to find out. She sucked in a deep breath and stepped into the glowing ring. For just one frantic heartbeat, everything went dark. Then the light was back, and she stepped out into a barren wasteland. Nothing, not even scrub bushes, dotted the ravaged landscape. Just cracked earth and oppressive heat. She turned to look at the portal behind her only to find a person standing in its place.

A person who looked exactly as she imagined she would if she were twenty years older.

~~~

Well, that’s it for me this week! I hope all of you have an awesome weekend, and good luck to all of you in your writing endeavors. If you’re stuck and looking for inspiration, considering checking out the writing prompts I post on Pinterest. Otherwise, have a great rest of your week!

Thursday Technicalities: World Building Tools – Weaving Together Plot and World

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Introduction

This seemed like a fitting place to begin a new series on Thursday Technicalities since we talk about world building tools on Saturday Setups and since I was just discussing where I learned most of what I know in my newsletter this week. So, yes, we’re going to talk about more world building tools, but this time, we’re going to start examining ways to really weave world building into your story and how you can bring your world to life.

A lot goes into world building writing. There’s lots of room for failure, but it’s not always so easy to succeed at this. Sure, there are lots of ways to weave world building into the story, lots of ways to show your reader this world you’ve built, and lots of ways to world build and many more tips for world building. But more often than not, those methods aren’t used by authors. Worlds either end up flat because the author decided they wanted to flavor their romance/adventure/thriller/etc with fantasy instead of flavoring their fantasy with those other things, or they end up flat because the author didn’t weave the world into the story well and ended up info-dumping, which drives readers nuts. Neither way is a pretty way to die. So, let’s start into how you can avoid this.

Beginnings

For world building to truly work well, you have to understand that what you choose to do outside the story will probably be way more than what you’ll ever show in the story if you take the conventional approach. Now, it doesn’t have to be that way, but usually it is, and there’s nothing wrong with that. But while a series might have room for you to show your reader a picture of your whole world and all the cool things you put into it, a single book will not. This means that when you’re actually considering your world building in light of your novel, you need to do so with the very beginning of the book: when you start working on that kernel of an idea known as your plot.

There are really two, maybe three, ways this happens.

First, you may have a plot but not necessarily the world. In this case, you’re able to start building the world and the plot together. If you’re taking this approach, you can use an approach that Holly Lisle’s world-building course calls SANE world building. You build what you need when you need it and no more (unless you’re just doing it for fun). This approach is good if you’re the sort of person who feels like you can’t start writing until you have every detail of the world nailed down. You’ll never get anywhere doing that, so approaching world building writing as a part of building your plot can help you to tie the two together without going insane or never writing a single word of the story on paper.

Second, you may have the idea for a world, but not a story. This can happen to those of us who love world building writing because we conceive an idea for some sort of power system, magic system, or other world-based structure, but we don’t necessarily have the characters and the stories that are going to populate it. However, in this instance, the world building itself often gives rise to the story. When I was doing my undergrad in accounting, a friend and I came up with a story idea and were co-writing. However, she was taking a long time to do anything on her end, and I was bored, so I started doing world building writing for a bunch of random things and history-related stuff for the world. (Yeah, I know. Nerdy. But I was in accounting, and that was really, really boring.) Long story short, as I was developing the history, I ended up with the idea for Rith’s Disciple, which led to a vague desire to fill out the history following it. When I joined Wattpad’s ONC contest, that desire combined with a really good prompt resulted in Bane of Ashkarith.

Finally, though perhaps not always as common, sometimes you have the idea for a world and a story idea, which leads to further stories. This happened with Bane of Ashkarith. I already had the world established, as I mentioned above, but the history I’d developed for the world gave rise to Bane of Ashkarith and the rest of the series that I’m working on. All of the stories are literally just histories of the famous people from the world’s past. Readers wouldn’t necessarily pick up on that right away unless they knew me and had read about the background behind the series, but because of the combination of the idea for a world and a story together, I ended up with an entire series. Nice when that happens, right?

Expanding our Understanding

I think the other important world building tip for world building enthusiasts (and those who hate it too) to realize is this: world building is more than creating languages, building races, and making up fantastical creatures or cool tech. It’s way more.

Have you ever thought about how strange it would be to us if metal striking stone made a hissing sound instead of a clink? Or what if, when you stepped on grass in the summer, it crunched like gravel but stepping on gravel was soundless? What if the sky was purple, not blue?

When you’re creating a world, building it includes little details. These details can be split into three areas, really. Set, objects that act as props for the set, and mechanisms/methods by which things work.

tHREE aREAS OF pLOT-oRIENTED wORLD-bUILDING

Set is pretty straightforward. Having a sky that’s purple instead of blue is a set item. It sets your world apart from others. Lots of things could be part of the set. Anything from the color of the sky to the way water looks lapping on the sand to the sand itself could be a part of set. To clarify, set is different from your prop objects in that props are things people bring onto the stage. They’re objects like pens, candles, food on a table, or the table itself. Your set is anything that occurs there naturally like trees, bushes, deer paths, bodies of water, and so on.

Your props and objects are just as varied as set. But they’re also a part of world building writing, something Holly Lisle points out in her course on the topic. People don’t often think that props are as important to the stage you’re building for the story as the story or the big flashy fantasy creatures being installed, but they are. The objects around us say a lot about who we are and why we are the way we are. They are our insight into those around us and even into the world. What is there can sometimes be as important as what’s not. If everyone uses candles and not flashlights, that tells you something about the world. If stone doesn’t exist much of anywhere, but people build everything with wood, it says a lot about the set without you ever having to come out and say anything. Objects can also help us to understand the more immaterial mechanisms and rules in place surrounding the world. Those rules have to act upon an object, person, or part of the set. So we can often see them in action and learn those rules of order by observing what they act upon. This can help us to avoid info-dumping or becoming too obtrusive with our world.

Objects carry a lot of weight in the world, though. In a story, if you show us an object, particularly if you show it to us independent of any human interaction, we’ll assume it’s important. Now, maybe you put it there intentionally to tell us what kind of person occupies the space it’s in. Or, maybe it plays some larger role in the story as a whole. Only you know that and can decide. But, the fact remains that if you put it there, it needs to serve a purpose. If it doesn’t serve one, don’t put it in. That’s what leads to overwriting, purple prose, and bored or confused readers. None of those are good, so just don’t do it.

Mechanisms and rules are far less obvious than the first two, but no less important. Mechanisms and rules are what tell us that on Earth, when you drop a coin on a concrete surface, it clinks or gives off a ringing noise. It doesn’t purr because that would be breaking the rules. Mechanisms tell us that healthy grass should bend under our feet and spring back when we step on it in the summer time. It isn’t going to turn into a bunch of deadly spikes and stab the bottoms of our shoes or our feet. If we didn’t have mechanisms and rules to keep things organized and somewhat predictable, then everything would devolve into chaos. Your world is no different in this regard.

The main method for showing mechanisms and rules, however, is different than it was for the first two categories of practical, plot-oriented world-building. For mechanisms and rules, you generally end up showing them when they’re in use on objects, interacting with the set, or affecting a character. They’re seen subtly, but even though most readers don’t immediately pick up on it all the time, they’ll expect it to be a trend unless you’ve made it clear what just happened was really weird.

For example, in the first chapter of Pathway of the Moon, I show my main character, Leo, scaling a wall using shadows to stick himself to the wall. He proceeds to do the same on the way back out of the castle after a successful execution of his target. This sets a precedent or a rule for his magic. Shadows allow those who can use them to stick themselves to different surfaces. I didn’t represent it as an odd thing or something that other shadow users couldn’t utilize, so the reader will anticipate that it’s normal for the world and the character, and if I use it again, they won’t find it odd. These kinds of encounters help to flesh out and build the world for the readers without them even noticing or realizing that you have.

Conclusion

In upcoming posts, I’ll go into some more specific writing tips for slipping world building into your story and talk about the techniques. The point of this post was simply to help you to understand some basics on how you can begin weaving the two together. It is by no means an exhaustive thesis on the subject. I hope that it’s been useful to you, and I hope you’ll stick with me as we explore some of the various ways myself and other authors utilize to develop worlds that readers can delve into and enjoy in their own rights because of their individuality and fresh perspectives.

Work-In-Progress Wednesdays #37

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This week, I finished up chapter fifty-nine of Pathway of the Moon. One more to go, and then it’s done and off to my list of works to edit (which currently consists of only that one piece and part of another, so it’s a short list of books for my own work, at least). I’m extremely excited about this (as I know I’ve said before), and this week’s work-in-progress comes from the most recent chapter.

~~~

Alrian glanced up at the Numahi. “Is this what we need to activate?”

She nodded. “It should be touch-activated. The one on our world was accessible to anyone in Sedra’s circle, but we couldn’t open it. She made sure of that.”

Brennan frowned. “You’re sure this is it? Is it even functional?”

“It is the record system. I’m sure of that, at least. But I don’t know if it will be functional or not. If it isn’t, the written records abandoned here should be enough. It’s written in an older dialect than what you use now, however.”

“Neither of us can read the dialect that far back.” Alrian leaned over and pressed her palm against the dark surface of the orb. “So, let’s hope this thing turns on and translates for us too.”

Just after she touched it, the orb began emitting a pale glow, which grew brighter until it became a piercing beam that scanned over her. What was it doing? Hopefully it wouldn’t kill her. She squeezed her eyes shut and stood still. If it was going to hurt her, it was too late to get out of the way. If she froze, maybe it wouldn’t hurt her? A tiny trill emitted from the glass orb, and she peeked at it. The beam dimmed back to a tolerable glow, and she opened her eyes fully.

“Records activated,” a robotic female voice chirped. “Please request an option from the navigation menu.”

She glanced at Brennan then back to the orb. “What are the options?”

Something whirred, and then the voice came back. “Review log files. View recordings. Enter a new log file. Record a new video file.” The voice spouted off a few more things she didn’t understand then said, “Please request an option from the navigation menu.”

Brennan’s brow wrinkled in confusion. “Umm… View recordings?” He glanced over at her. “What is a recording, anyway?”

The Numahi laughed. “A recording is simply a record that contains audio and sometimes visual that was taken down in the moment it happened. You can communicate using those devices that are programmed to one another, yes?”

She nodded.

“Well, this device is more sophisticated. It can capture that communication and save it.”

Alrian shifted from foot to foot. A device that could capture their words and faces? Didn’t really sound like it led anywhere good, but maybe it could be useful. After all, without that, they wouldn’t be able to activate this old thing and find out what was really going on. She sighed and crossed her arms as the device whirred once more and projected an image onto the table. She squinted down at it with a frown.

Brennan looked equally confused. He poked his finger through the glowing stretch, but the image only moved over his finger too. “What is this?”

The Numahi snickered. “I forget that your communications are primitive here. It’s what we call a holo.”

“How does it work? Magic?”

“No, not magic. Technology. But never mind how it works. You need to tell the device which video to play. If it’s like the ones back home, you can choose based on the dates on the bottom left corner of each still image. If you don’t see something interesting, you can tell the orb to scroll to the next set.”

Brennan looked over at her. “You ready?”

She sucked in a deep breath and nodded. “Let’s just start at the beginning.”

Brennan turned back to the video display. “Show us all the videos starting with Entry One, Year 0.”

The screen changed, and sound poured out into the room. What she heard in that first video made her stomach clench, and sweat beaded her forehead. The creature hadn’t been lying. Maybe it had lied about other things. Who knew? But it hadn’t been lying about this, and even minutes into the first video, she was ready to shut this whole thing down and run. Still, she couldn’t move, couldn’t flee. This had to be heard. The threat was still out there, and who knew what might happen if it found out they still existed? They could all end up in dire danger if the organization backing the odd experiment Sedra was describing on the recording had the power to help her create life itself. This organization played the part of a god, and they had no problem with doing even the profane. If they found Alcardia, everything would be lost.

~~~

That’s it for this week, everyone! Next week, I may have something from the final chapter to share. Then that’s it. No more excerpts from Pathway of the Moon for Work-In-Progress Wednesdays because it’ll be done. I’ll be moving on to new things.

Speaking of new things, I’m participating in Wattpad’s Open Novella Contest this year! I did this last year too, and Bane of Ashkarith was the result. (So everyone who has really like the book, you have that contest to thank. 🙂 They’ve got some pretty good prompts.) This year, my piece is shaping up to have more of a sci-fi feel, but I’m basing it around the prompt “If all else fails, throw a little magic at it.” I’m liking it so far, so you may be seeing some of that on this section of the blog through until April when the novella has to be finished.

Saturday Setup – Creatures: The Usual Suspects

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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!

Flash Fiction Fridays: Cold Hard Stone

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This week’s flash fiction is my take on a writing prompt I recently posted on Pinterest.

~~~

Shauna opened her eyes to…nothing? Inky blackness met her gaze, and she shifted with a soft whine. Pain sparked through her arm, but she ignored it and forced herself to sit up anyway. Where was she? Cold stone met her palms and the backs of her thighs, and she winced. Not being able to see anything was unnerving.

She slid her fingers along the stone until they met empty air. Some sort of pedestal then. How far was it to the floor? She didn’t dare try to climb off this thing without knowing what lay beneath. Really, in this kind of darkness, the floor could be thousands of feet below her or some monster could lurk in the darkness. She’d seen enough to know the monster under the bed wasn’t always the result of an overactive imagination.

But she couldn’t sit here all day, either. Well, maybe not day. Too dark to know if it was day or night wherever she was. Either way, she couldn’t stay here. She felt down the side of the stone she sat on, inch by inch. Nothing snapped at her fingers, but she also couldn’t feel any other surfaces to step on just yet.

Her head ached with the motion, and her injured arm throbbed. While she quested for some indication of where she might be situated and how to escape, she occupied herself with trying to determine what might have happened to her. Had she been drugged? Given how her head felt, quite likely. She must have put up a fight to be injured like this unless whoever dragged her down here and been careless. Why, oh, why– Her fingers brushed against another solid surface.

Cheering mentally, she leaned over to feel along the cool surface. More stone, but it seemed to be more the sort flooring might be made out of. That was a good sign. Even better, it didn’t drop off that she could tell. She slipped her feet over the edge and eased onto the solid ground beneath the stone slab she’d been on. One step at a time, she felt her way along the new surface until she hit a wall.

Walls were good. They meant that, besides stairs, the floor probably didn’t just end somewhere. They also meant she was in a man-made structure of some sort, whether built entirely by hand or built into some sort of cave structure. At least she knew there would be some rhyme or reason to the building. She continued forward, shuffling along at a slow, steady pace.

The darkness in the space eased a bit at a time with each step she took. It felt like an eternity before it happened, but she took a turn with the wall and burst out into a dimly-lit hall. A door stood at the other end, and through the tiny pane of glass, she caught a glimpse of what appeared to be some kind of lab. Had they brought her here to be a guinea pig? If so, why leave her in the dark, unchained and free to roam whenever the drugs they’d given her wore off? Perhaps there was something more going on in that dark place. And just maybe she’d gotten out in the nick of time. She stopped at the door and peered in through the glass pane.

Her breath caught in her chest, and bile rose in her throat. There, on the screens mounted all over the room, was the unmistakable form of some giant creature on the infrared camera feeds. It must have been down in that place she’d come from or somewhere even deeper for whoever owned this place to use infrared cameras to keep an eye on it.

She cracked the door open and slipped inside the unoccupied room. Once inside, she simply stared at everything. The word Behemoth was written in bold red ink across a folder nearby and again in black print on the far wall. Behemoth. Was that the creature or the organization? She reached out and flipped the folder open with trembling fingers.

Pictures of twisted, torn bodies of young women spilled out across the metal table in disarray. She gasped and stepped back, her fingers going to her throat. What was this place? She turned away, stomach heaving, and took one step in the direction of the door.

Black, polished shoes reflected the fluorescent lights. Her gaze traveled up over black slacks, a white lab coat, and a neatly pressed grey shirt until it met a blue gaze as sterile as its owner’s clothing. She swallowed hard.

The man offered her a razor sharp smile. “I see Moth didn’t take you. Well, guess he’s judged you suitable for phase two, which means you’re all mine from here on out.”

A scream lodged itself in her throat.

“Oh, come now. You weren’t eaten alive. This part will be much better than that, I promise. I’m the much gentler side of Behemoth. The face it presents to the world. I won’t hurt you. Much.”

Now why didn’t she believe that? She took a shaky step back and snatched the first sharp object she saw off the table. A pen. How useful.

He eyed it with a bemused grin and slipped a syringe from his pocket. “I can see he chose well, little girl. When you wake up, it’ll all be much less frightening, I promise.”

~~~

That was a little bit longer than the last few have been, but I hope you guys enjoyed it anyway! If you’re curious about what the prompt was or want to give it a try yourself, you can check it out on Pinterest. I post about two writing prompts a week on The Fantasy Nook Blog’s Pinterest page, so if you’re looking for inspiration, head on over and take a look. I also pin other people’s writing prompts when I find interesting ones, so there’s a little of something for everyone, I think.

Flash Fiction Fridays – Guardian

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This week’s Flash Fiction Friday is another one based on a prompt I found on Pinterest. This one is built on the premise that everyone but you has a guardian angel. Instead, you have a guardian demon who deals with things in more violent but much more efficient fashion. It sounded interesting, so let’s see where this goes.

~~~

“Did you really have to do that?” I pointed to the corpse with his burned-out eyes and open mouth, which had, just seconds ago, been releasing a lot of noise. A lot of hot air too. Seriously, he should have known no one could reason with a demon. I’d figured it out ages ago. Hadn’t taken me more than a few hours after he showed up.

“He was a danger to you.”

“Azariel, he just wanted my wallet.”

“I know humans and their dark intentions, little girl. I’ve been around a few times. Seen things you couldn’t even imagine.” Azariel examined his sharp, curving claws with a sniff. “He would’ve done much worse than steal your wallet.”

“Thanks for that image.” I gagged and turned away from the corpse. “But you can’t murder everyone who comes after me!”

“Why not? I’m not an angel, pet. I’m a demon, and demons create havoc, destroy things, and lead humans astray.”

I groaned and shook my head. “Remind me again why you’re here? I never asked for a guardian—angel or demon—but I certainly would’ve chosen anything but you.”

“Such bratty behavior for someone who would’ve died if I hadn’t stepped in.” Azariel smiled at me and flicked my wayward bangs out of my eyes. “Really, Ash, would it kill you to be grateful? I know I’m supposed to encourage greed and all other banal, wicked attitudes in humans, but I have feelings too. I’d appreciate a little bit of thankfulness for saving your life.”

“Azariel,” I drawled. “You have been leaving a trail of corpses behind you since we met a month ago. I’m going to end up in jail as a serial killer, and my life will basically be over anyway. Can you pleasejust let me handle things and, I don’t know, buzz off?”

“That would be boring.”

“You’re thousands of years old. You don’t need me to amuse you. Find some other human to toy with. I don’t need the devil’s protection.”

Azariel pursed his lips. “Well, it’s all you’ve got right now.”

“And I’m telling you, I don’t want it. I know the cost associated with it way too well.” I grimaced, hating that I couldn’t get him off my back. Really, I’d seen what contracting with demons resulted in, and I didn’t want any part. Maybe I might not have a guardian angel, but I could live with that. God could decide when I went, guardian angel, demon, or whatever. Not like anything was going to stop Him, and I didn’t want anything to do with this demon since it seriously increased my chances of ending up dead.

Azariel had been silent for too long. He looked like he was in pain, but then the expression flashed away, replaced with the usual smugness he projected. “What if I said I’d stop being your guardian demon?”

“On what conditions? My immortal soul?” I crossed my arms. “Come on, Azariel, what do you take me for? A fool?”

“Well… You did almost let that man—”

I raised a hand. “Enough. I get the idea. What will I have to give you in return for getting rid of you? Hmm? My firstborn child?”

Azariel shivered in disgust. “Good gods, no. What would I do with a baby? Eat it?”

I gagged. “Seriously? That’s the first thing you come up with?”

He shrugged with an innocent smile. “I’m a demon? Generally, my first idea is the most violent one.”

Unbelievable. “What. Do. You. Want?”

“Well, I’m not going to leave. But I’ll stop being your guardian demon.”

I face-palmed. “That doesn’t get rid of you.”

“Nope. But it does exonerate you of the price you’d have to pay for my guardianship.”

I stalked off down the alley. “Stupid demons. I’m going to snap his neck like a twig one of these days, I swear.”

“I heard that.”

Well, good. He was supposed to.

~~~

Well, that’s it for this week’s Flash Fiction Friday. Hope you enjoyed it. As always, if you have something you’d like to see here, feel free to reach out in the comments or by email!

Saturday Setups: Language Building – An Introduction

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Introduction

In a post on language factors, we already went over some basics about languages and building them for specific areas as well as basics on how to do it in general. In this post and upcoming ones, we’re taking a look at this more closely. This is a process that is entirely optional, and people do varying degrees of it. Some go all out while others opt out entirely. Neither is wrong. A language you’ve created isn’t necessary to lend credibility to your work in most cases, but it can be very helpful. The goal of this section is to equip you with tools you’ll need to build languages if you choose to do so. I can’t cover everything, but I’ll try to cover what you need to get started. We’ll begin with an introduction to building languages and why you might decide to do so.

Why Create a Language?

First and foremost, creating a language should be done for fun. It isn’t required, even for high or epic fantasies, to make a good story. In fact, it’s easy to end up taking away from the story with this type of world building if you’re not careful. Because of this, the predominant reason to create a language is because you want to for the sake of experimenting, having fun with it, and being able to say you’ve created your very own language. If playing with sounds, coming up with new writing systems, and dabbling in creating grammar or structure rules sounds fun to you, then this area of world-building is for you. If you already know you’ll hate it, move on. It isn’t worth driving yourself nuts. For those on the fence, I encourage you to give it a try. You never know; you may love it. At the very least, you can say you tried it.

Besides fun, another reason to build a language of your own is because you want a naming system (or just the names) for people, places, and things that sound suitably unique but also have some sense of cohesiveness and weight behind them. This could mean you just want names that sound like they could come from the same regional location or it could mean you want names that go as far as having root words from a language that gives the names an actual meaning, much like our names on Earth have meanings behind them. Those two different sides of the spectrum obviously require differing levels of involvement from you in terms of language building, but they’re both valid needs.

Finally, language is so entwined with culture that many times your culture ends up changing with the language. If you’re writing something heavily invested in culture, language–spoken and written–plays a big part in it. You may only choose to add in some exotic names and maybe some insults or curse words to lend to the illusion of depth you create, or you may choose to go all out and create the language that you need to include songs in that language, like Tolkien does with Elvish in Lord of the Rings. How far you go depends on your interest in it and on what your readers are expecting. You can go overboard with this, so it’s important to always have balance. Don’t overwhelm readers with a lot of text in fantasy languages you’ve created. But that doesn’t mean you can’t have some terms or names that are pulled from the language creation work you did.

Where to Start

If you’re feeling like this is complicated at this point (or have felt so since you saw the topic of this post), I’m not going to lie to you. It is complicated. But it isn’t impossible, and there are ways you can make life easier on yourself. Let’s just look at the starting point I’ve used for this in the past since a starting point helps to make things seem a little less chaotic.

Usually, I start with the alphabet. I take the time to think about all the sounds available to me in my language and alphabet (English in my case), and I weed through those root sounds. I may take out a vowel or a consonant here and there to lessen the number of letters I have to deal with. I have also, in the past, chosen to incorporate the diphthongs (vowel combinations like ae) found in Latin or other languages. When you’re adding sounds to your alphabet or syllabary that your native tongue doesn’t have, you can look at the sounds of other languages. This is a tremendous help, and it can give a lot more depth to your language, especially if you’re doing this for the first time. Even Tolkien, a well-accomplished linguist in his own right, borrowed from other languages to create the dialects of Elvish.

Starting with your alphabet or syllabary gives you the building blocks for words. It makes it easier to determine what sounds can and can’t be involved, and you’re making a call on what the language will sound like at the very basic level. If it’s going to be soft and lilting, it’ll be because of the sounds you kept, added, or threw out in this stage. If it will be harsh and guttural, it’ll be because of what you kept, threw out, or added at this point. Everything in a language pivots upon two things: its grammar and its vocalization/sounds. Grammar is more complex, so start with what’s simple and build up from there.

Conclusion

Hopefully you have a better understanding now of why you might want to create a language and the uses it can serve in your novel. If you’re feeling overwhelmed, take a deep breath. This isn’t as bad as it seems, and I hope to show you that it can be a ton of fun for creative minds in future posts. You can set up the language in whatever way you choose. Look at the languages we have here on Earth. There’s tons of variation there, right? Well, for your fictional languages, you can use systems just as varied, and you also have the freedom to mash together concepts, sounds, and techniques from other languages around you in real life. If you let go of the stress of thinking everything has to be perfect and just start with your sounds and the premise that this is meant to be a lot of fun for you, you’re going to be fine. You can take it as fast or slow as you need to, and you can choose how much you feel like doing. No author is required to build a complete language, nor are they required to do any language building at all. It really is entirely up to you, so have fun with it and don’t stress! Just like all other areas of world building, this is your chance to do things your way and to have fun while doing it. Take advantage of it!

Saturday Setups – Magic: Consequences

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Introduction

This week’s discussion is the last on magic for now. We’re going to go over consequences to magic. We’ve already hinted toward this a bit, but a closer look at it is important because there’s so much variation in the topic. So we’re going to examine this area in a little more detail. Since I already covered the importance of having structure to the magic system and the need to have boundaries as well as consequences that limit magic use, we won’t go into that with too much detail. Instead, we’re going to look at some of the kinds of consequences and how they can be used. Let’s get started!

Types of Consequences

Okay, so this particular topic is pretty vast in that the possibilities for consequences to magic and why you have them vary so widely. But let’s take a quick look at some different types of consequences. You can have mental, physical, emotional, or tangible consequences for things. The first three are relatively straightforward. The consequences in these categories will end up affecting the user directly in one of those three areas, so there may be restraint in how much magic is used depending on the severity of the consequences. The last is a little less obvious. Tangible consequences are ones that don’t fall under the other three. They affect the user indirectly instead, usually by affecting his loved ones or by taking something from him that is precious to him.

Examples of Consequences

Obviously, the consequences for using magic change a great deal depending on what category they fall into. A magic system whose consequences are mental might include anything from losing memories to going into a coma. Obviously, the severity may vary depending on the magnitude of the magic used, but the type of consequences allowed will be dependent upon what you choose to use for the consequence category. A physical magic system wouldn’t include losing your mind or losing memories, but it could include illness, losing body parts, blood sacrifices, or some other physical consequence for using the magic or even for making it work. And still yet again, emotional consequences won’t be the same as either of the previous two. This type of consequence isn’t necessarily as common as the first two because it’s a bit harder to come up with things to use. But emotional consequences might include losing the ability to feel a specific emotional, temporarily or permanently, or could even include a heightening of some negative or positive emotion for a time period as well. Or, perhaps the consequences emotionally result in some sort of “mental” illness that affects only one’s emotions or perceptions of the world around them. Typically, emotional consequences are going to go hand-in-hand with mental consequences simply because the two categories often impact each other, even in the real world.

The category that’s most expansive is the tangible consequences category. This is because the consequences are taken out on those around the magic wielder. So, a mage’s sister could go insane because he tried a spell that was really strong. Or, perhaps a close friend dies as a result of the use of magic. Really, the possibilities are endless. The key to note here is that when it comes to consequences, I don’t mean direct consequences that occur because someone used magic wisely or unwisely. Think of consequences here more as a price that is exacted after magic is used. In some systems, that price might be the drain on some sort of extra energy reservoir that the magic wielder possesses or use of life force. In others, the price could be something else entirely. The magic will work, but you don’t get it for nothing.

Practical Use of Consequences

Now that we have a foundational understanding of the topic, we need to understand how to use consequences practically in a novel. This can take many forms because, as noted above, the choices and combinations are pretty limitless. And you aren’t bound to staying with only mental or only physical consequences. You could have differing prices depending on the type and magnitude of the magic. For example, in Pathway of the Moon, I have three different consequence systems for three different situations of magic use.

The first is the normal type of magic almost everyone uses. In this consequence system, people draw on an energy reservoir inside of them. That reservoir will replenish, but those who try to do magic that requires more than what is in that source will end up drawing on their own life force. Obviously, this is a strong incentive for people to understand their own personal limitations and to avoid overdoing it.

The second system is in place for those use dark magic or shadow magic. Since both have similar workings and both can draw on the life force or energy source of other people around, the system is the same for both. In this case, those who have and use this kind of magic pay a different price if they choose to use someone else’s energy instead of their own. They suffer mental consequences as the blackness of the magic used can overwhelm them and will eventually drive them mad.

The final system is in place for, again, those who use magic drawing on the force of others. But in this case, it is for light-wielders because their magic doesn’t operate the same way as the magic of the shadow-wielders or dark magic users. In this system, drawing on the life force of others results in physical consequences, not mental. Using magic this way here results in the loss of physical senses over time, and each subsequent use of others’ life force comes at a higher and higher cost.

All of these systems operate in the same world and series, but they’re all very different types of consequence systems. Hopefully this helps you to see how you can weave consequences into your own book and your own magic system. How you choose to do it will vary to one degree or another from how I’ve done it, but this was just an illustration to underscore the fact that you can combine things as you like.

Conclusion

I hope this article has been helpful to you and has brought you some useful advice on how you can work with this very important area. It’s not a matter of right or wrong in this case, so have fun with this and don’t be too concerned with whether or not it’s “correct”. Have questions or suggestions? Feel free to leave those in the comments below!

Work-In-Progress Wednesdays #32

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This week, I have a scene from Pathway of the Moon’s most recent chapter. I’ve got ten chapters to go in this monolith of a book! Super excited to have the end in sight. This has been my most rigorous project yet, and the sequel promises to be even more complex in its plot and the execution of that plot. Lots of threads are going to be woven into the story’s tapestry, and it’ll be interesting to pull them all together as things continue on through the story. Hopefully I have the skill to pull it off. But only time will tell!

~~~

ALRIAN and Brennan stared down at the blackened, charred path through the grain field. She couldn’t believe the amount of destruction this one creature was capable of. Of course, they had some destructive animals on Alcardia, but most of them were shy or reclusive, and they rarely caused much trouble even if they were capable of it.

Brennan put his hands on her hips with a groan. “This thing is certainly determined to leave a trail behind it.”

“It’s almost as if the creature wants us to find it.” Alrian leaned back into his chest. “Do you think it hurt any villagers this time?”

He raised an arm and pointed to the village nestled in all of the fields. “I don’t think so. The village is still in one piece, and it shows all the usual signs of life.”

She watched the smoke trail up from chimneys and nodded. Her Bond was probably right. He usually was. She craned her neck to look up at him. “You know, I’m very glad I don’t have to track this thing alone.”

“You would find it just fine on your own, especially if this thing were to continue leaving a trail this conspicuous.”

She turned her gaze back to the charred path through the fields with a sigh. “Why would it leave such an obvious path, Brennan? What do you think it wants?”

“No way of knowing.” He ran his fingers through her hair and turned her to face him. “But I think we’re going to find out. Together, as usual.”

She grinned. “Yes, yes, we are. That thing is going to wish it never stepped through that Pathway.”

“Don’t be hasty, love. Besides terrifying some villagers and terrorizing the local livestock population, it hasn’t actually hurt anything.”

“You’re forgetting the field.”

He snorted. “It didn’t burn the whole thing down. Just a small portion of it. Doesn’t really count.”

She smacked his shoulder. “Brennan! That’s someone’s livelihood.”

“You’re right, you’re right.” He raised his hands in mock surrender. “Don’t hurt me over it!”

“Well, alright. This once, I’ll let it go, Captain.” She grinned up at him, not wanting to miss a chance to give him a hard time now that he was running the Imperial Knights.

He dipped his head until his lips almost brushed hers. Almost. But he didn’t close the last little bit of distance, the tease. She whined, but he only laughed. “Isn’t it High Imperial Knight now?”

“Why, sir, I didn’t know you were such a stickler for formality.” She smirked, her hands inching up his back to rest against his shoulders. She had to stand on her toes to reach, but he put his hands on her waist and steadied her, making the task easier.

“You’re the one who’s using formalities and titles.” His breath fanned over her face, and a shiver slipped down her spine. “Although, I’m not objecting.”

She bit her lip and lowered her gaze. “So, you’d accept any nickname I came up with, husband?”

“It would depend. But I haven’t heard one I didn’t like yet.” He finally dipped his head and claimed her lips for a breathless moment. “And I don’t think I will. Not if you give it with affection.”

She tried to hold back her smile and her laughter, but in the end it bubbled out. She dropped back to a flat-footed position and rested her forehead against his chest. Brennan always knew just what to say. He was always there, supporting and listening. He’d even kept her secret for her when he could’ve chosen to turn her in. After finding out she’d lied to him, he would’ve had every right. But instead, he’d loved her as much as her false identity allowed and kept the rest of his love to himself. Until now. She wrapped her arms around his waist and hugged him tight. “Thank you.”

He held her close too. “For what?”

“For caring.” She lifted her head. “For being you. For everything you do for me.”

He stroked her cheek with one large hand. “Anything for you, my love. Now, let’s get going. We have a creature to catch, and it isn’t waiting around. The sooner we catch it, the sooner we get to return to a warm bed and something besides hard tack.”

She pulled away and flipped her braid over her shoulder. “You love hard tack. It’s the best on-the-road food there is. Your words, not mine.”

He groaned. “I never said that. And why would you think I love hard tack?”

“You always ate my share and yours in our army days.”

“Only because you gave it to me. I was doing you a service.”

“A service?”

“The sergeant used to check up on everyone to make sure they ate their share. Do you know how many men got in trouble for not sticking to ration or for wasting their ration? I risked a good caning for you.”

“How come he never checked my share?”

Brennan gave her a sheepish grin. “Well, I may have told him I was taking your portion when you weren’t hungry.”

“You told Sergeant Croops that?” She stopped and stared at him.

“Yes.”

“And he didn’t turn your back black and blue?”

“No. But he told me if I didn’t finish both portions, I’d get two canings for taking an extra share and wasting it.”

“I can’t believe you did that!” She shook her head with a laugh. “So you didn’t really like hard tack?”

“No. I hated the stuff, to be honest.”

She chortled, wiping tears from her eyes. “I never knew.”

“Don’t laugh about my pain, woman! That was three years of misery while we were deployed out in the middle of nowhere.”

She dropped back to walk beside him, leaning into his side with a smile. “I won’t, I won’t. Thank you for eating double your share to save me from Sergeant Croops’ wrath.”

“You’re welcome. Glad to know you appreciate it. Later, you’d better show me just how much you appreciate it too. A massage and a hot meal sound nice.”

Her lips curved up in a smile. When they got to a village that had an inn to stay in for the night, she’d make sure they acquired a hot meal and the nicest bed she could find. And she’d pay for it out of her salary. If he wanted that and a massage, he’d have it. It was the least she could do for him. He’d given her so much, and she wanted him to know how much that meant. “You’ve got it.”

~~~

That’s it for this week’s WIP Wednesday. What are you guys working on? Feel free to share in the comments!

Sunday Sub-Genres: Flintlock Fantasy

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Introduction

Most of us know what steampunk and Victorian fantasy is, but I’m guessing most of us haven’t heard of flintlock fantasy. To be honest, I myself hadn’t prior to researching different fantasy genres to discuss for Sunday Sub-Genres. It isn’t one of the more commonly known or widely spread genres in fantasy, but that doesn’t mean it isn’t a style of fantasy that appeals to readers and writers alike, so we’d be amiss if we skipped it. Let’s get started!

Defining Flintlock Fantasy

Simply put, flintlock fantasy is fantasy written in a setting with all of the bells and whistles of the early stages of the Industrial Revolution. It received its name because the firearms’ advancement level is usually right around the flintlock stage of gun development. A creative name? Maybe not. But it does serve its purpose. Politically speaking, the scene is more attuned with Napoleonic-era Europe than you see in most fantasy stories, which typically use a more Middle Ages-style structure. So you’re going to see a rise of industry and industrial buildings as well as more technology. This makes things interesting, as you’ll see when you read through the next section of the post.

Writing Flintlock Fantasy

Now we get to the interesting part. We mostly know what to write and expect in typical fantasy genres, but flintlock fantasy is a whole different beast from what we’ve tackled in previous posts on fantasy sub-genres. Still, it makes for some fun combinations in story-telling, so let’s get into it!

Magic

We’re going to start here because this part is pretty unique to flintlock fantasy or any fantasy book that has a more developed society. Magic use can be all over the place in these books. Some have very high magic use while others really don’t. Some may keep the magic hidden away from general society while others may allow it out in the open. But here’s the thing. When you can easily gun down the mage with no magic of your own, things tend to shift in the power balance here. People with magic are no longer the only ones with an edge. They may use the magic to do many things, but if technology can do those same thing or do them more efficiently, then that leaves magic-users with an option: adapt or die in obscurity. Keep in mind that one of the most interesting things in flintlock fantasy is the way the authors end up combining magic and gunpowder. That can create some very interesting combinations and effects. So if you’re writing this genre, you’re going to do some serious thinking about magic and how you want to include it because this is one of the hardest decisions you’ll probably make regarding this type of fantasy.

Society

Here’s a critical one. Flintlock fantasy is set in a society on the cusp of some amazing inventions and changes, as well as some not so great ones. One way of life is slowly dying to give way for another, and depending on how you choose to tell the story, your tale will reflect that. It won’t have much of a choice because of the nature of flintlock fantasy. This opens the door for remarking, through the use of fiction, on the horrors of trends in society as technology began to really barrel forward. It allows writers a chance to make a commentary on history and on what may happen to us in the future because of it.

Steam Power

Okay, this is a little of a weird one to include, but it’s also really important. You might be tempted to think at this point that this isn’t much different from steampunk besides maybe focusing more on flintlock innovations and what not. But that’s actually very far from the truth. While an argument could be made that these two are closely-related cousins, flintlock fantasy is not steampunk fantasy. So no steam-powered machines of gears and cogs that can do wild things. If it was an actual invention during the time period flintlock is based on, it’s probably fine. This isn’t to say that you shouldn’t have anything steam-powered, but it shouldn’t be prominent or the focus because then you’d be writing steampunk, not flintlock fantasy.

Change and Military Might

Remember how I said your society is on the cusp of change? Well, it’s not just technology that changes. When technology changes, everything does. Your warfare tactics have to adapt. Your society alters to adapt to the new amenities and struggles. Most of us probably don’t even realize just how wide-spread the influence of technology is in our lives, and even though the technology in this case will just be gaining the first bit of momentum in a flintlock fantasy’s society, it’s going to create ripples. Nothing is going to be able to remain as it was, especially when it comes to guns and new weapons.

This means that flintlock fantasy often focuses on themes of change or military.

Plot

Flintlock fantasy is one of those sub-genres that has very high plot complexity. Because it draws on readers’ understanding of history, the time spent setting up the world is not as heavy as it would be for other types of fantasy. As such, more time is then devoted to the plot and making it full of action and battle. Since military is often a theme in flintlock fantasy, it’s quite usual to find that flintlock fantasy is more focused on a linear plot surrounding soldiers or military characters of some sort. Things are still changing in this genre, but one of the best ways to explain the plot is to say it’s high-powered. Lots of momentum, lots of forward movement. That’s going to be important if you want to write in this genre. There’s room for you to make it your own, of course, but these are some guidelines generally used for the genre.

Conclusion

Flintlock fantasy can be a lot of fun for the right writers. But it’s also specific in its requirements. If you want to have dwarves facing off against elves with bows, arrows, and swords, well… That’s not going to work in a flintlock fantasy for obvious reasons. They’re going to die because they’ll be up against guns, not bows and arrows, when they face off against the enemy. If you want to write this genre, I cannot stress enough how important it is to read books in the genre! These books can be pretty high violence and can get dark depending on the theme of change that’s focused on or what type of military themes are brought in. But if this is what you want to write, you absolutely must read it! I’ve included some recommendations below.

Brent Weeks’ works in particular are ones I’ve read some of, and I feel he’s a good author to learn from. Reviews are mixed, and there were certainly some things that weren’t the best about some of his earlier work, but he had a good grasp on how to write flintlock style fantasy. His societies are definitely ones on the cusp of change, and the one book I read through entirely (first in the Night Angel Trilogy) had very strong political and military themes. You don’t see as much of the guns side of things, but you definitely get an industrial revolution feel from it.

Sanderson is another very good author to learn from. I personally have learned a great deal from dissecting his work to learn from it, and I highly recommend you read his work, regardless of what sub-genre of fantasy you want to write. He’s a must-read fantasy author in my opinion, and you rob yourself of some seriously useful learning opportunities if you don’t take the time to read his work and digest it. His Mistborn series, Elantris, or Warbreaker are great places to start.

If you’re more of the epic fantasy sort, I can’t recommend his Stormlight Archives more highly. You’ll learn more about writing fantasy, phenomenal world-building, and superb characterization from reading his work and looking at what he does than you will from a lot of writing guides. Almost everything I know and nearly every technique I utilize for world-building in my novels came from what I learned reading the Stormlight Archives. I’ve since added to that knowledge, of course, but I haven’t seen a more valuable example of how to use extensive world-building well than I have in his work.

Further Resources and Reading

Brent Weeks’ Night Angel and Lightbringer series (Two separate series. Based on what I’ve read from Weeks, I don’t recommend this for kids. It would be best if readers are fifteen or sixteen at least because it gets pretty violent and has language.)

Brandon Sanderson’s Alloy of the Law (Sanderson is a phenomenal fantasy author to learn from! If you only read one book on the list here, read his. His books are generally suitable for those fourteen and up.)

*Bradley P. Beaulieu’s Lays of Anuskaya

*Susanna Clarke’s Jonathan Strange and Mr. Norrell

*Michael A. Stackpole’s At the Queen’s Command