White Mountain The Movie – Part II Filming Locations

Taking a slight break from the Distant Worlds author interview series, hopefully this will be a visual treat for all those who love travelling (in real life or in the imagination) and film addicts like me!

As an avid film fan, back in January I had a bit of fun and shared my vision of White Mountain – The Movie, specifically focusing on my dream cast and director.

So, with visionary Ridley Scott directing, Christopher Plumber as Mr. Agyk, Rufus Sewell as the voice of Gralen, either Natalie Portman or Gemma Arterton as Wendya, a possible Henry Cavill or Aidan Turner as Korrun and charismatic Michael Fassbender as evil villain Morreck, the cast is ready.

For the full cast and character profiles, check out my original post: https://sophieetallis.wordpress.com/2015/01/04/white-mountain-the-movie/

Next we shift our cinematic focus to filming locations for White Mountain – The Movie! 😀

*(Please note that apart from my illustrations and a few of my own photographs, most of the images used to show places/locations are NOT my own unless otherwise stated. Many thanks to their various creators. :D)

***

In order of book locations, first up, Mr. Agyk and Gralen’s home, White Mountain itself! Real location: Mont Blanc, Switzerland. (My inspiration: Mount Cook ‘Aoraki’, New Zealand).

 

 

 

 

 

 

 

 

The living room.

 

 

 

 

 

 

 

The map room, think of a pyramid room covered in maps and star charts with a central dais and the ‘tapestry of time’ shifting world map on it. (Lol, little bit like the map room in Raiders of the Lost Ark!) 😀

 

Next, the ice city of Ïssätun, high up within the Arctic circle. Real location: the Arctic, Svarlbard, and Greenland. (My inspiration: the Franz Josef glacier and glacier terminus, New Zealand).

 

 

 

 

 

 

 

 

 

 

 

 

The ice dungeons below the city.

 

 

 

 

 

 

 

Back to White Mountain and the great library ( I love my libraries!).

 

 

 

 

 

 

 

 

Then travel to the Grey Forest deep within the Russian boreal forest or ‘taiga’. Real location: Russian Urals/Siberia. (My inspiration: Forest of Dean, UK and Wistman’s Woods, Dartmoor, UK).

Russia Siberia Sayan Mountains And Taiga. Image shot 2007.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The pancake rocks that Mr. Agyk & Gralen spent the night on, as hunting firewolves draw near. Real location: Russian taiga/Siberia. (My inspiration: Combestone Tor, Dartmoor, UK & Punakaiki, South Island, New Zealand).

Wendya’s home – a tumble down cottage in the heart of the forest (less Bavarian fairytale and more decrepit than this though).

Wendya’s summer retreat, high up in the Llrinaru trees – a treetop sanctuary. Real location: Siberia. (My inspiration: the giant Kauri trees of New Zealand).

 

 

 

 

 

 

 

The Amazon jungle, following the great river and its tributaries deeper into the rainforest.

 

 

 

 

 

The path to the Oracle.

 

 

 

 

 

 

 

 

The dead gully.

The Oracle’s Lair.

Then cross the Atlantic to the heart of Africa, the Congo Rainforest, home of the most ancient city in the world, Kallorm (Dwellum of old or Silverden in the Ǽllfr tongue). Real location: Congo and Democratic Republic of Congo. (My inspiration: the Waipoa rainforest, North Island of New Zealand and Abel Tasman rainforest, South Island of New Zealand).

The oldest and largest Dworllian realm, Kallorm – the ‘City of Light’ – a bustling subterranean metropolis of crowded honey coloured sandstone buildings, viaducts, bridges, rivers, forums and market squares deep beneath the jungles of the Congo (Democratic Republic of Congo). Real locations: Sandstone buildings of Petra, Cairo, Nairobi, Kolcatta, Dwarka. (My inspiration: the narrow crowded architectural streets of Rome, particularly the Roman Forum and the market squares of Florence, Italy).

Firstly, one of the many ancient bridges to cross into Kallorm.

 

 

 

 

 

 

The White Palace, the Royal House of Kallorm and the Senate, the seat of government. Inspired by Indian and Middle Eastern architecture with some Italian Renaissance thrown in!

 

 

 

 

 

 

 

The Falls of Tarro. Real location: the Victoria Falls, border of Zambia and Zimbabwe. (My inspiration: the Huka Falls, New Zealand, Lyford Gorge, Dartmoor, UK and Canonteign Falls, Devon, UK)

Draellth chambers and catacombs beneath the city of Kallorm. Real location: the Hang Son Dong cave system in Vietnam. (My inspiration: the Waitomo caves, New Zealand and Wookey Hole, Somerset, UK).

 

 

 

 

 

 

 

 

The ‘Resting Rooms’ of Kallorm, a peaceful sanctuary and haven to heal all wounds amidst the bustle of Kallorm.

The journey to Fendellin, following the mighty Indus River up to the wild hills and mountains of the Hindu Kush where the demonic snow leopard attacks.

The Himalayas, searching for the ‘Lost Kingdom of Dragons’, Fendellin.

Fendellin, ‘The Lost Kingdom of Dragons’ – the vast hidden land within the Himalayas (the Encircling Mountains), originally an Ǽllfren stronghold, now one of the last Dworllian kingdoms and home of all dragon races…also the home of M’Sorreck himself. Real location: Tibet, Bhutan, Nepal and Himalayan region. (My inspiration: the Southern Alps, South Island of New Zealand and the Tongariro National Park, North Island, New Zealand + the Tibetan legend of Shambhala).

The ancient steles beside the iceberg lake in Fendellin.

Mund’harr and the capital, the Golden City. Real location: Architecture of Cambodia, Burma, Laos and Spain.

 

 

 

 

 

 

 

 

 

Finding a quiet cloister in the city of clouds…

 

 

 

 

 

 

 

The Hanging Gardens of Mund’harr. (My inspiration: the hanging gardens of Babylon & Nineveh).

The blue poppy fields of Fendellin.

The Tolltek Pass and the road to Morreck.

The Shudras – the ‘Silent Marshes’.

Hal’Torren’s choice, the ruins of Oralam. Real location: the deserts of China.

 

 

 

 

 

 

 

The salt lake and Kavok’s Peak.

Valley of darkness, Morreck’s fortress and the stone Sentinels.

 

 

 

The Cavern of Souls – Morreck’s lair. Real location: Basilica Cistern at Istanbul, Turkey and Petra, Jordan.

The Flame of Fendellin.

 

 

 

 

 

 

 

 

The cavalcade home.

Back to White Mountain again.

***

Lol, there you go, a very looong visual exploration of the cinematic locations for White Mountain – The Movie! You can tell that I’ve spent WAY too much time thinking about all this!

Next time, the beasts and creatures of White Mountain – The Movie! 😀

 

Oh, and for all you lovely White Mountain fans, there’s still a chance to vote for it in The People’s Book Prize. Voting stays open until August 31st, so if you love it please lend your support, every vote really does count! And a HUGE thank you to all the fabulous people who have already voted, White Mountain has garnered the most amazing comments and votes!

THANK YOU! 😀 xxxx

Etymology – What’s in a word? Part III Language and a glossary of objects.

This is the final instalment in my ultra nerdish look at etymology and the derivation of words. Lol, I know I keep saying this but I’m sure this particular post will only be of interest to me and maybe one other person, but it seems right to finish the series looking at the inspirations and roots behind my novel, White Mountain, and the whole of the Darkling Chronicles universe.

This last post looks at the finer details of language and gives a general look at the objects and things in White Mountain and their derivation.

Now, although I would never claim to be a linguist or language specialist, I have taught phonetics for the last 16 years and so have a good understanding behind the mechanics of language and word roots. So yes, like a true geek and many other eager teenagers obsessed with JRR Tolkien, I did invent my own working language for White Mountain (although this doesn’t specifically feature in the book, it hopefully gives the background a little more depth/flavour).

My Dworllian language is actually a mixture of Maori, African Ibo & Bantu dialects, Old English, Old Norse and Old Hindi! 😀

One thing you’ll notice that is very prevalent and typical of the Dworllian language, are double ‘ll’ and double ‘rr’. These are most notable in character names which always have these – Korrun, Baillum, Dorrol, Halli, Frell etc., and denote a longer consonant sound in pronunciation. Other races, such as dragons (fÿrrens) do not use these language rules, hence – Gralen, Sedgewick & Varkul. Rollm however is an exception, being so close to the Dworllian race, he has adopted the double ‘ll’ in his name.

Here are two poems/laments from White Mountain in translated Dworllian and English to give you a feel for the language.

***

Tè Takka ò Tarro / The Falls of Tarro

Undokko à ullvi ò arras

Beneath a canopy of stars

E sullo agarr aggallm,

Its whispering waters flow,

Undokko tè utta tunga harr

Beneath the towers standing tall

Takollo ōku manava d wharri.

Lies my heart and home.

 

À tūn megirr ò dworri llri

A city great of Dworllian past

Gllès mundii d à gillgalloharr witarr,

Three mountains and a palace white,

Nevfr getàll ù tirr d brkirr are

Nine gates to pass and bridges arch

Ù urru tè ngarro gllm ò sollal.

To reach the secret realm of light.

 

À kōparr ò sillva, à tunorr rarrrn

A veil of silver, a thundering roar

À kurra dollm, à aggakè haea…

A crystal dome, a rain bowed beam…

È sullirr tè kō ò Dwelldi (Kallorm) k’rran,

I hear the song of Dwellum (Kallorm) call,

Ìri ōku manava, e kōhu mōstan takka.

Within my heart, its mists must fall.

 

Kallorm, Kallorm rro k’rran irr wharri

Kallorm, Kallorm come call me home

Ù kanikani d sarri ì Tarro agarri,

To dance and sing in Tarro’s spring,

Kallorm, Kallorm rro k’rran irr wharri

Kallorm, Kallorm come call me home

Ù tallo arro koè whakarri mettan.

To rest amongst your sheltered stone.

***

***

Tè Takollo ò Fendelli / The Lay of Fendellin

Pærr neorr ufèrr tè mundii witarr

Pass now beyond the mountains white

Herrwa ïssa kara pekè d agarri

Where frosted rivers leap and spring

Arro tè lldva narra solall

Amongst the golden grasses light

Herrwa fÿrrens llvar d alla d sarri.

Where fÿrrens dwell and soar and sing.

 

À ettan ǽ llri d fægorr ǽ arras

A land as old and fair as stars

Ò ïsso mund d unasoll n’garr,

Of snowy peaks and moonlit seas,

Ò noktarri naru èrr ettirr affar

Of darkling woods we travel far

Ù selell onù ì sillva lèorr.

To gaze upon its silvery leaves.

 

À ferra whǽ æsell n’korrè fÿrra

A flame that springs eternal fire

À tūn ì tè kōhu atta,

A city in the misty sky,

À bælorra whǽ kēna kaorr elld

A beauty which shall never tire

Arro tè rællan alla harr.

Amongst the banners flying high.

 

À whakarr vas à affar ettan

A sheltered haven, a sacred land

Ǽ llri gllm ò gillga,

An ancient place of Kings,

À sillvorri hirr’kræl, à fÿrri brrin

A shining sword, a fiery brand

Herrwa mahkirri llvar ìri.

Where magic dwells therein.

 

Affar ærr uffè manava fendda vallas

Far east beyond heart’s lost desire

Tè llvmanava ò tè llri vakirr,

The birthplace of the eldest kin,

Tōnna akè solla ò wenalla ò fÿrra

Through rising sun on wings of fire

Takollo warrewa Fendelli.

Lies forgotten Fendellin.

Here are a few basic and background terms used predominantly in White Mountain:

Ǽllfr – (referred to in myth as ‘elves’ ‘alfarr’ ‘alfa’ – Greek derivation ‘alpha’ meaning first or primary).

Ǽllfren Sanskrit – A very ancient Ǽllfren text and written language similar to the ancient Indian Vedic Sanskrit.

A’Orvas – Ǽllfren word for the First Realm, equivalent to Valhalla, Elysium, Marrduk (Sumerian – Marduk) and Heaven.

Arrametta – Meaning ‘starstone’. A luminescent quartz type stone that produces light (often when held) and acts of a source of illumination for many subterranean cities and kingdoms (see Kallorm). Sometimes referred to as Arrasoll (starlight) or Kaorrsoll (false light). Dworllian derivation ‘arra’ or ‘arras’ meaning ‘star’ + ‘metta’ or ‘mettan’ meaning stone or rock.

Astarri – Ǽllfren goddess of the moon and heavens, commonly referred to as Ibell’una ‘Lady of the Moon’ in the Dworllian tongue, derived from ‘ibell’ meaning woman/female + ‘una’ meaning moon also derived from Roman goddess of the moon ‘luna’ and arachaic latin ‘lūna’.

Cecrops – legend of the half man/half dragon and hero of Cecropia (Athens). Cecropia, derivation from Cecrops, was the capital of ancient Attica named after city saviour Cecrops and later renamed Athens after Greek goddess Athena.

Dworll – (related to ‘dwarfs’ or ‘dwarves’) Derivation from Old English ‘dweorg’ and related to Old Norse ‘dvergr’ meaning dwarf

Fÿrren – A Dworllian and Ǽllfren colloquialism for any dragon, wyvern, wyrm or fire-drake. Derivation (fÿr meaning ‘fire’ from Old English ‘fȳr’ and Old Norse ‘fūrr’ + en (suffix) from Old English ‘en’ related to Gothic ‘-eins’).

I’Sharri – Dworllian goddess of love and forgiveness. Similar to the Sumerian and Mesopotamia Goddess of love, Ishtar.

Llrinaru – Elder wood. Dworllian derivation ‘Llri’ meaning ancient, old, elder + ‘naru’ meaning wood.

Medeaok – Type of Fendellin alcohol using fermented honey & emmer (ancient type of wheat grown in mountainous regions). Derivation from Old English ‘meodu’ and Welsh ‘medd’ meaning ‘mead’ (wine made from fermented honey).

Mimmirian – Meaning ‘seeing mirror’ from the Dworllian word ‘mimirr’ meaning wisdom or knowledge, derived from the Norse giant Mimir who guarded the well of wisdom near the roots of Yggdrasil. A mimmirian is an ancient mystical communicating device, usually mirror like, with a viewing panel and instrumentation for sound. Derivation from Old French ‘mirer’ and Latin ‘mīrārī’.

Naru’l’tarr – Forest leopard (Amur leopard). Dworllian derivation ‘naru’ or ‘narru’ meaning wood or forest + ‘l’tarr’ meaning swift hunting animal.

Rille – small boat or vessel, often used in funeral ceremonies to carry the dead over a waterfall and into the next world/realm (afterlife). Derivation from ‘rill’ meaning brook or stream also from Old German ‘rille’.

Sillvaf’yrren – Dragonsilver. Dworllian derivation ‘sillva’ meaning silver also derived from Old English ‘siolfor’ & Old Norse ‘silfr’ + dworllian fÿrren meaning dragon (‘fȳrr’ + ‘en’).

Solall – Dworllian meaning ‘light’, derivation from dworllian ‘solla’ meaning sun derived from ‘sol’ the Roman god personifying the Sun and later 15th century Latin ‘sōlāris’ from ‘sōl’ the sun.

Vakirri – V’kirri = Immortals, the first great wizards (grand magi) also known as the ‘magirri’ (magic ones), first order of the wise of which Morreck (M’Sorreck’) is the last remaining one. Mr. Agyk, though an ancient and powerful sorcerer, is not one of the grand magi.

***

There, lol, I’m sure I’ve bored you all silly, so I won’t go on!

If you’re a geek like me, then check out my previous posts on etymology 😀 :

https://sophieetallis.wordpress.com/2014/12/17/etymology-whats-in-a-word-part-i-places/

and https://sophieetallis.wordpress.com/2015/01/19/etymology-whats-in-a-word-part-ii-creatures-and-races/

Etymology – What’s in a word? – Part II Creatures and Races

Here we are again, delving into the wondrous world of etymology and the derivation of words – a topic I adore, being the nerd that I am!

Today, I’m focusing on the races and creatures of White Mountain and The Darkling Chronicles, and the roots behind their invention. Being a total geek for all things of an etymological nature, together with a love of ancient history, archaic cultures, geography, geology and world myths, I’ve used many of these elements in the creation of my races and creatures. Lol, I should also thank the marvellous Brewer’s Dictionary of Phrase & Fable for being such an inspiration over the years!

(*My Dworllian language – actually a mixture of Maori, African Bantu & Ibo (Igbo) dialects, Old Norse, Old English, Celtic and Old Hindi).

Races:

Apart from humans, which feature more largely in Books 2 & 3, the main (‘elder’) race featured in White Mountain are Dworlls. Ǽllfrs are also an elder race but although remnants of their culture remain, there are no actual ǽllfrs in White Mountain, having left many millennia before in ‘The Great Exodus’**.

• Dworlls – Ancient and proud race pre-dating humans. Protectors of nature and custodians of the great forests, jungles and grasslands. Highly skilled craft workers and inventors. Dworlls have broad stocky frames and are stouter than ǽllfrs, especially ‘ground dwelling’ dworlls, though still tall by human standards (average height 6ft). Pale to tanned skin, pale eyes, earth-toned hair, some elders of royal bloodline may have small forehead ridges at the hairline (males only). Dworlls are divided into two principal castes. The taller and more agile mountain dworlls prefer open and airier spaces to their stouter subterranean-loving cousins. These ground or earth dworlls are shorter and broader than their lofty relatives but older in history, heredity and lifespan and were always by far the more numerous of the two types. Dworlls built not merely with grand designs and architectural wonder but with expansion and population in mind. And so sprang the great dworll kingdoms and metropolises of which Kallorm was the first and greatest. Most of these resided underground as is the custom of dworlls but took the breath away in their sheer size and ingenuity.

(Dworlls* – related in myth to ‘dwarves’ or ‘dwarfs’. In derivation terms, to Old English ‘dweorg’ and Old Norse ‘dvergr’ relating to manlike creatures possessing magical powers.)

 

• Ǽllfr (ǽllfr) – An ancient race of people pre-dating humans, prodigious intellect, great astronomers but fickle in nature and disinterested in the matters of others. These antediluvian beings were tall and sinuous (average height 7 – 8ft), yet broad in frame and with great strength and agility. Angular features with notably high cheekbones, dark skin and dark hair. The height of Ǽllfren society was some 500-340,000 (BC) years ago, whereby it steadily declined. With the advent of a growing human population, and intolerant of this lesser species, the first exoduses occurred. **The final great exodus coincided with the end of the last Ice Age and the boom in human populace, some 10,000 years ago. Very few ǽllfrs remained. Ǽllfrs built their small but grand cities, not merely amongst the heights of mountains, but on the plains and savannahs and even the deserts of the world. But among the great sand palaces and glistening crystal spires, the most spectacular of these cities were those oceanic pearls that perched on islands or cliff faces just above the sea, or those rare marvels that sparkled beneath it.

(Ǽllfr/ǽllfr* – referred in myth to ‘elf’s’ or ‘elves’. In derivation terms, ǽllfr – from Old English ‘ælf’ and Old Norse ‘elfr’. Also related to ‘alfarr’ ‘alfa’ – the Greek for alpha ‘first’ (first race) may have derived from this.)

 

• Dwelf (dwelfr) – A mixed race person, the result of a rare union between an ǽllfr and dworll. Dwelfrs are taller than dworlls and have the high refined features and darker skin of their ǽllfr kin but with broader stockier frames from their Dworllian parentage.

(Dwelfr* – literally ‘dworll’ + ‘ǽllfr’.)

• Mage (magus, magi) – Wizard (male witch), with supernatural powers and the ability to manipulate and control magic. Magus – a Zoroastrian priest (of ancient Medes and Persia), a sorcerer or magician of ancient times.

(Mage – archaic word for magician/wizard from C14 ‘magus’. Magus – from Old Persian ‘magus’ and Greek ‘magos’. Also referenced in the story of Simon Magus, a sorcerer who tried to buy powers from the apostles in the time of Roman Emperor Nero. Wizard – (male witch) from C15 ‘wissard’ (‘wise’ + ‘ard’) and ‘wise man’/’wise men’ (magi).)

 

• Wærloga – Old English word for warlock. Literally a man who practices black magic, witchcraft, a dark sorcerer.

(Wærloga – Wærloga or Wǣrloga meaning oath breaker from wær oath + loga liar, also ‘traitor, scoundrel, monster’, also ‘the Devil’, from wǣr ‘covenant’ and an element related to lēogan ‘belie, deny’. From its application to the Devil, the word was transferred in Middle English to a person in league with the Devil, and hence a warlock.)

 

• Wicca(Wycca) – Witch (wych),one who practices magic (‘the old arts’), from Old English ‘wicca’.

 

Beasts/Creatures:

• Fÿrren* – Dragon. A Dworllian and Ǽllfren colloquialism for any dragon, wyvern, wyrm or firedrake. Fÿrrens (dragons) also refer to themselves by this name.

(Fÿrren* – fÿr meaning ‘fire’ from Old English ‘fȳr’ and Old Norse ‘fūrr’ + en (suffix) from Old English ‘en’ related to Gothic ‘-eins’.)

 

• Fÿrullfr* – Firewolf. An ancient demon of the old world, firewolves are gigantic beasts, bear-like in size with the tusks of a boar, sharpened fangs and red fiery eyes. A portent of evil they were greatly feared by both Dworllian and Ǽllfren societies for the relentless pursuit of their victims, their voracious appetite for flesh, destructiveness and their ability to breathe fire. Firewolves are bitter enemies of all dragons and are thought to have been the real culprits behind many ‘dragon attacks’ of old.

(Fÿrullfr* – fÿr meaning ‘fire’ + ullfr meaning ‘wolf’ similar to Old Norse ‘ulfr’. N’dirron – Another word for firewolf (fÿrullfr), or any ancient wolf demon known to breathe fire – related to ‘Andiron’ (firedog) from Old French ‘andier’.)

 

• Naru’l’tarr* – A forest leopard (Amur leopard of Siberia, not to be confused with the Snow Leopards of the Himalayas and Hindi Kush).

(Naru’l’tarr* – Dworllian word naru meaning ‘forest’ or ‘wood’ + l’tarr Dworllian word meaning leopard (sometimes referred to as ‘silent walker’) related to Old French ‘lepart’ for leopard.)

 

• Mokèlé-mbèmbé (Mokèllé-mbèmbé) – A giant feared lake monster of the jungles of central Africa, specifically the Congo basin around Lake Tele, near to Kallorm and the area that Wendya Undokki grew up. Thought to resemble a living a sauropod dinosaur it was first recounted in oral history tradition by the indigenous Ba’Aka forest people.

(Mokèlé-mbèmbé – ‘one who stops the flow of rivers’ in Lingala or Ngala language, an African Bantu language of Democratic Republic of Congo (DRC) and Republic of Congo.)

 

• Tarpans (tarrpans*) – Often referred to as ‘tarrpa’s’ (Dworllian colloquialism). Ancient and beautiful breed of European wild horse common in prehistoric times (Equus caballus gomelini) but now extinct outside of Fendellin, that used to be widespread throughout Anatolia and the Russian steppes. Hardy animals, similar to the Przewalski’s horse or Dzungarian wild horses of Mongolia, with stiff bristly manes, no forelock’s and thick coats in winter which they moult in spring. However, tarpans have much longer legs making them excellent runners, often have a dorsal or shoulder stripe and have sturdy yet graceful frames akin to Arabian horse breeds.

(Tarpan – from Kirghiz Tatar language. Dworllian* equivalent ‘tarrpan’ or ‘tarrpas’ – double ‘rr’ (and ‘ll’) a feature of Dworllian language and delineated in pronunciation by rolling the ‘rr’ and elongating the ‘ll’.)

 

• Wargols – Troll like creatures with facial tusks, broad shoulders, muscular arms, dark blueish skin (which gave rise to the term ‘night beasts’), heavy Neanderthal brows and crimson coloured inset eyes (with particularly good night vision). Wargols are evil servants of Morreck (M’Sorreck the Corruptor), enemies of all ancient races and humans, known for their limited intellect but viciousness and strength.

(Wargols* – Ancient Dworllian and Ǽllfren word derived from the creatures’ own thirst for war (often referred to as ‘gols’ for short). Possibly the derivation source for the word ‘gargoyle’ meaning a person or creature with a grotesque appearance, taken from C15 Old French ‘gargouille’.)

 

• Gorrgos – A powerful, massive and very ancient subterranean beast of archaic times. Snake/Wyrm like in shape and with the capacity to change the colour of its skin. Often referred to as the ‘terror of the tunnels’, it dwells in the deep chambers and caverns of Kallorm’s catacombs and ‘undercity’.

(Gorrgos* – Dworllian word meaning ‘terrible beast’. Possibly the derivation source for the Greek word ‘gorgos’ meaning terrible, also used in relation to the Gorgons – Greek myth of three winged sisters with live snakes for hair.)

 

• Oracle of the West – A malevolent and powerful creature capable of foreseeing the future (Oracle – Parrtea) – Any ancient and wise creature with prophetic powers to read the future. Usually powerful and often malevolent even dangerous beings. Some have magical and telepathic abilities allowing them to read the minds of their ‘visitors’ (especially the weak-minded) and alter the outcome of any advice or wisdom given. Originally there were nine great, powerful and feared Oracles scattered throughout the ancient world, most of which have since disappeared. Associated legend tells of stories of the Oracles eating their ‘seekers of knowledge’ (visitors) after helping them. As a result, such creatures were feared and given frequent human and animal sacrifices to protect those who sought them out or lived under the shadow of their lair.

(Oracle – from Old French and Latin ‘ōrāculum’ and ‘ōrāre’ meaning ‘to speak’.)

***

Lol, right I think I’ve bored you all silly, so I won’t go on and on any longer, but you get the idea!

Part III, the final part in this etymological series, will look at objects and the things that make up the world of White Mountain! 😀 xxx

https://sophieetallis.wordpress.com/2014/12/17/etymology-whats-in-a-word-part-i-places/

 

Etymology – what’s in a word? Part I – Places.

Okay, I admit it, I’m a HUGE nerd and this particular post will probably only be of interest to me and about three other people on the planet! But I love etymology and the derivation of words.

This is particularly prevalent when it comes to places and place names.

I grew up learning that place names had a beauty and a power all themselves and that they weren’t just a string of random letters but actually meant something. Places had meanings. I spent my childhood in a small village named after a Saxon chief, Alwif, who came across the megalithic stones on the high hill above the village and named the settlement after himself and the largest stone, Alwif’s Stone, which later became Alves’town and then Alveston. Greenhill, just round the corner, was a green hill, Bodyce Orchard was named after the bodies supposedly buried there during the English Civil War (1642-1651). My tumbled down cottage (circa 1577) where I grew up dreaming of dragons and adventure, was on a wonderfully named road – Wolfridge Ride, named after the wolves that used to roam the area when it was forested hundreds of years before and the wolf pits that were dug to catch them along the high ridge.

Lol, I digress…but you understand my fascination with place names and the derivation of words, the inherent mystery and magic in them.

So, here I am lifting the curtain on my weird and wonderful world and some of the strange research I did for White Mountain and for the worldbuilding behind my Darkling Chronicles trilogy.

Despite White Mountain being an epic fantasy in the traditional ‘high fantasy’ sense, it is set now within our modern world, so in addition to my invented places I also wanted to include real places too, to ground the fantasy in reality and give the book an authentic feel for the reader.

I should state here, that having taught phonetics for the last 16years, I understand the basic structures of many Indo-European languages and syntax and so when I decided, like the true nerd that I am, to invent my own Dworllian language, I wanted to make sure that it actually worked…and yes it does!

(*My Dworllian language – actually a mixture of Maori, African Bantu & Ibo dialects, Old Norse, Old English, Celtic and Old Hindi).

The Locations of White Mountain:

• The Arctic Tundra – location of Ïssätun*, the Ice City, high within the Arctic circle. An enormous hidden city made entirely of ice where all remaining elder tribes, dworlls and magic-casters etc., can meet, trade and gather news. A cross between a huge shopping mall, a bizarre and a covered market, full of haggling stalls, bridges and walkways, squares and forums for meeting…though it hides a dark secret.

(Ïssätun* – iss or issa meaning ‘ice’ in Old Norse + tun meaning ‘town’ in Old English and Old Norse = my Ïssätun, ‘Ice Town’)

• The Siberian Boreal forest or ‘Taiga’ (snowforest) – location of the Grey Forest and Wendya Undokki’s home, within the magical Llrinaru* trees with their tree spirits or dryads. The boreal forest is the largest forest on earth and covers an enormous area, home to many indigenous tribes such as the Nenet, Chukchi and Evenki. Like the genus behind many ancient and Anglo-Saxon names, the Grey Forest is just that, literally a grey forest of larches, alder, spruce and ancient silver birch which appear grey when flecked with snow.

(Grey – grǣg in Old English. Llrinaru* trees or ‘The Elder Wood’ – llri meaning ‘old’ or ‘ancient’ in Dworllian + naru meaning ‘forest’ or ‘wood’)

• The Alps (Alpes – Celtic derivation) – location of White Mountain (Mont Blanc), Mr. Agyk’s ancestral home and home of Gralen, the last Eurasian dragon in existence. (Although the real location which inspired White Mountain was actually Mount Cook ‘Aoraki’ in New Zealand during my epic four month backpacking trip there back in 1997/1998).

 

• The Amazon – location of the ‘Oracle of the West’ (one of the nine oracles from the ancient world, which included the oracles at Delphi and Cumae) and its lair, deep within the Amazonian basin. From the aerial roots of the mangrove swamps on its Atlantic coast to the black ox-bow lakes that straddle its interior like giant boomerangs, the protagonists must follow a path deep into the heart of the jungle, past dangling lianas and bromeliads and the giant buttresses of its huge mahogany trees to a dark and dangerous power.

 

• (Democratic Republic of Congo) Congolese Rainforest – location of the huge subterranean metropolis of Kallorm* known as ‘The City of Light’, largest and oldest of all Dworllian Kingdoms, known as Dwellum in Old Dworllish (similar to Sumerian cuneiform in its written language) and Silverden in the Ǽllfren tongue. Kallorm, with its three colossal underground mountains ‘The Three Pillars of Kallorm’ which support the ground above, was founded over 120,000 years ago but has been in steady decline since the end of the last Ice Age 10,000 years ago when the human population exploded. Only the indigenous forest people, the Ba’Aka are aware of the city’s existence. Sapele and Iroko trees and hidden forest clearings called bai’s, dot the landscape and its red iron rich soils and the impatiens that blossom beneath the dappled canopy (bai’s were only recently discovered by Westerners, still hidden in the Congo’s mythic ‘heart of darkness’). Wendya Undokki grew up in the city as a child and used to play in these bai’s (open water meadows), before leaving for the Siberian north and the Grey Forest. 

(Undokki means ‘witch’ in African Bantu languages which is apt as Wendya is a witch!)

• Himalayas – location of the hidden land of Fendellin*. Tibetan and Indian myths tell of a magical hidden land, lost in the Himalayas, called Shambhala. It was this Shambhala which inspired James Hilton’s 1933 novel Lost Horizon and the land of Shangri-La. Shambhala IS my Fendellin.

“Far East beyond heart’s lost desire

The birthplace of the eldest kin,

Through rising sun on wings of fire

Lies forgotten Fendellin.”

(Fendellin* – fen meaning a low-lying land, marshy or near watercourses from Old Norse ‘fen’ + dell meaning a hollow esp. wooded hollow from Old English ‘del’ or ‘delle’ = my Fendellin* rather simple and Anglo-Saxon in its meaning!)

• Fendellin* – location of the mountain capital of Mund’harr* and the central plateau named after it. The capital, the Golden City, sometimes referred to as the Sky or Cloud City, sits at the top of Mund’harr, amongst its pinnacles.

(Mund’harr* – mund meaning ‘mound’ in Old English similar to munt meaning ‘mount’ in Old English + harr meaning ‘high’ in Dworllian and related to hār meaning ‘high’ in Old Norse.)

(The main river in Fendellin, ‘The Great Varuna River’ – Varuna from Hinduism, the ancient sky god, later the god of waters and rain-giver.)

(The Shudras, ‘The Silent Marshes’ – Shudras from the ancient Indian Vedas, the fourth varna from one of the sacred texts from the Rig Veda. Shudras was the lowest social class, also refers to swamps and the dark serpents who inhabit them.)

***

There…I think I’ve bored you all enough! But you get the idea.

Part II will look at myths and creatures – wargols, firewolves, oracles, fÿrrens (dragons), dworlls (dwarves), and the Gorrgos!

Below is a map of the world with White Mountain locations and the approximate routes taken to get there! 😀 xxx

 

 

Mapping your fantasy.

 

I love maps, always have. Something inextricably draws me to them. All those exotic names and places, those strange lands…

As a child I obsessively pored over maps and charts, any atlas or globe I could get my hands on, long before I could really read or understand all those mesmeric names and places. It was the beauty of them as objects in their own right and what they represented – the imagining of dreams made real.

When it comes to fantasy, you can imagine what I’m like when I see a map inside! I grew up enthralled by the maps of Tolkien, tracing Bilbo’s journey in The Hobbit and later, Frodo’s adventures in The Lord of The Rings. E.H.Shepard’s wonderful ‘Hundred Acre Wood‘ map from A.A. Milne’s Winnie-the-Pooh books, the maps in G.R.R.Martin’s novels etc etc. Just sheer bliss and wonderment!

Yes, maps in fantasy books have become another cliche…but you know what? I don’t care, I LOVE them!

 

So when writing and illustrating my first novel, epic fantasy adventure, White Mountain – Book 1 of The Darkling Chronicles, it was a no brainer to include a map.

 

Afterall, creating fantasy worlds is about the most fun you can have with or without your clothes on. Exploring the subtleties of character, the twists of plot, the deepening of a storyline, the embellishment of a rich history and back story and mixing all those elements and more into one sumptuous thrilling world. Yes…it really is one of the most exhilarating endeavours.

So to encapsulate a part of that rich world in a visual way, to draw the reader in as I was drawn in, was an opportunity I couldn’t miss.

Also for me, as a lover of fantasy especially epic fantasy, to be able to construct a believable world, grounded in reality and embody that world in a map…was just the best.

With that love of maps also came a love of names, etymology – the meaning and derivation of words. For my map ‘The Lay of Fendellin’, Fendellin literally means ‘in a dell or hollow and by a fen/water source’ – very appropriate for the land I invented. My Fendellin itself was inspired by the Tibetan and Buddhist beliefs in Shambhala, a mythical and legendary land still hidden within the Himalayas and untouched by the outside world. A very potent idea. Many people still believe in Shambhala, I wish it existed too. It has inspired stories down through the ages, not least James Hilton‘s ‘Lost Horizon’ where he turned the Shambhala legend into his utopian paradise Shangri-La. My Fendellin is wondrous indeed, but could never be described as utopian. Amongst the soft plains of blue mountain poppy and frolicking tarpans (ancient horses), there is always the omnipresent malice of Kavok’s Peak in the distance, birthplace of Morreck the book’s arch villan. Yes, my Fendellin is beautiful indeed but has become a gilded prison for many who live within its Encircling Mountains, unable to esscape.

Mund’harr, the capital of Fendellin, a towering mountain on the Mund’harr plateau with its small city and hanging gardens clinging in winding tiers about its pinnacles, literally means ‘High Mound’ in various Old Norse, Frissan, Germanic and English languages.

Shudras, the ‘silent marshes’ of Fendellin, is an Indian word derived from ancient Sanskrit which refers to the lowest of the traditional varnas or social classes, oppressed people many of whom worked and lived in swamp areas. Also refers to any of several species of dark serpents inhabiting the swamps and jungles of South India.

Fendellin’s largest water course, the great Varuna River, is again derived from Indian Sanskrit. In the ancient Vedic religion, Varuna is the god of the sky and water, ruler of the celestial ocean. Again, in Hindu mythology and post-Vedic texts, Varuna was the god of all the water elements, keeper of the oceans and rivers and god of the dead who could grant immortality. As the inhabitants of Fendellin are all dworlls, with hugely expanded life cycles to our own, all of this seemed a perfect fit.

I could go on…but I’d bore you all silly. Suffice to say, that maps and names hold a special power for me and weaving them into a mixture of actual ancient myth, my own invented mythology and reality is such a heady thrill!

Ah…for the love of maps! Check out my other map obsessed post: https://sophieetallis.wordpress.com/2012/04/05/for-the-love-of-maps/

😀 xx

The joy of writing and building worlds…

The joy of writing is the act of creation.

A whole fantasy world made manifest – turning blank pages into battles of character, plot and the subtleties of prose.

But for me, the joy of writing is not merely the act of creating a story which engages and enthralls its readers but in creating a world I can immerse myself in. World building is a skill and one of the many challenges that fantasy and sci-fi writers face when weaving their tales. When done correctly, it compliments the story giving depth and gravitas to ground the fantasy. When done poorly, it smothers the story – turning it into an incidental neighbour you forgot to invite to the party, or worst still, jars with the story due to its utter lack of realism.

The temptation for all writers who world build, is simply that it becomes SO enjoyable to construct your worlds, that you can get easily seduced by your own cleverness – by the intricacies of cultures, the development of language, the botany and animal life, geology, geography and rich histories of your creations. Now that’s fine, if you intend being the only reader of your novel. But, if you’re looking for a readership of more than one, you have to curtail your inner nerd…just a little!

I speak from experience here. Being a teacher of phonetics among other things, I love linguistics and the construction of language. As a result, between my love of phonics and etymology, I have constructed a working language for my characters – ancient Dworllish complete with a basic 24 character Dworllian alphabet based on Maori, Old English, Old Norse and African Bantu dialects! Yes…I did mention nerd, didn’t I?

So, did I include this language and all its nuisances in my book? No. Elements, occasional references and words, but that’s all. I want my novel to have as wide an appeal as possible and readers, even language loving nerds like me, simply don’t need all that information and certainly the story doesn’t.

Okay, so you’ve curtailed your inner geek and taken out those character genealogies you were working on, but what makes a world work? If your novel is a fantasy, whether it be urban, steam punk, classic, high, crossover, contemporary or gothic, do you need to make your world real? HELL YES! No matter how fantastical your creations are, if they are not grounded in realism it makes it damn hard for the reader to connect or care about them.

Think of basic scientific laws, gravity, light speed, evolution etc, of course to bring the magic in, you’ll need to break or subvert these laws but you’ll need to bring realism in somewhere else. This for me, is my next joy…research, research, research!

SO much fun it should be illegal! If you’re writing about histories, cultures, mountains, desserts, jungles – research. Let me say that again…RESEARCH! (my nerdy self revels in this)

Even if you only use a fraction of your research in your novel, it will give an integrity and depth of realism to your world that you won’t be able to replicate without. But again, don’t overload it, use sparingly.

For White Mountain and the world behind The Darkling Chronicles, my research runs into three or four large box files and a plethora of books. Ancient history – particularly Sumeria, the Hittites and the Indus Valley civilisation. Indigenous people – like the Chukchi, Nenets, Khanty and Evenki of Russia and the Siberian tundra. The geography and geology of the real locations my characters travel to. Botany and wildlife etc etc. Make it REAL!

Kallorm ‘City of Light’, my subterranean metropolis beneath the Congolese jungles, in central Africa, feels real because so many things around it ARE real, from the colour of the earth in that region to the sapele and iroko trees that grow there. For my Fendellin ‘Kingdom of Dragons’, a lost realm amongst the Himalayas, I based on Tibetan Buddhist myths and Indian folklore about Shambhala – the same legend that inspired James Hilton’s 1933 novel Lost Horizon and his Shangri-La.

Oh…and any places you travel to, use them for inspiration too. The landscapes of Dartmoor and New Zealand have been particularly rich for me.

So, you’ve done your research, built your world, made it real but not overpowered or forgotten your story (remember – story and characters take gold & silver, setting – bronze), then you are on your way!

Ah…the joy of writing and building worlds… 😀

For some useful advice on the subject, check out Fantasy Faction and their post ‘Why World Build?’ http://fantasy-faction.com/2012/why-would-build/