Author Essentials: Go there…

Making it real, no matter what genre you write in…¬† ūüėÄ

Hard Ink Café

Sophie E Tallis in New Zealand

If your imaginary world is rich in geographical detail, at least in your mind’s eye, you need to get out there and soak it up in order to transfer the experience to the reader. Sophie E Tallis was already travelling when she started to think about writing her epic fantasy adventures.

You may be the writer, stuck at your desk ‚Äď but the reader can be anyone, anywhere in the world. And if you‚Äôre imagining any part of the world that your reader knows, you need to impart knowledge and inspire empathy. If the reader doesn‚Äôt recognise the Oxford Street that they pass through on the way to work every day, because you‚Äôre writing about it from your cul-de-sac in Bexhill-on-Sea and the closest you ever got to Central London was Tunbridge Wells, then perhaps a one-day travelcard wouldn‚Äôt go amiss in your research.

Even if your world is invented…

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The joy of writing and building worlds…

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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 Рturning 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.file3121313815879[1]

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.file0001006582285[1]

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!file000816536459[1]

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 Рparticularly Sumeria, the Hittites and the Indus Valley civilisation. Indigenous people Рlike 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… ūüėÄ

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/

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