Worldbuilding - Your Characters and Your World

So much WANT.

Am I reusing a picture of Jon Snow? Why yes. Yes I am. Can you blame me, though?

Also, can you tell I'm in severe Game of Thrones withdrawal? Cuz I am.

Anyway, I keep picking GoT because a) it's awesome, b) it allows me to use gratuitous Jon Snow photos, and c) I just finished it last night and OH MY GAWD.

And it's a fantastic example of worldbuilding and how the world you create impacts your characters, something I covered briefly in the last post but wanted to expound upon because it's kiiiiiind of important.

And I'm going to use Jon as an example ^_^

In Westeros, a bastard's surname is typically called by region. In the northlands, where Ned takes Jon, that surname is "Snow." In the river region, the name is "Rivers." You can see how that works, I'm sure.

When Ned brings Jon to Winterfell, no one can understand why, including Jon. Step-mom Catelyn despises him and little half-sister Sansa (who kinda sucks at life anyway) never accepts him into the family. He's called "bastard" as often as "Jon." So...how does all this fit into the worldbuilding?

Because of the cultural and societal implications of Jon's standing, he's seen as little more than a parasite. Alienated and alone, no matter how hard Arya, Robb, Bran, and Ned try to make him feel included, he's not. Never seated with his family at banquets, never allowed to take the name "Stark," Jon has no true family, though he'd die for Ned or his half-siblings without a second thought. So, where do men with no hope of establishing a house go?

TO THE WALL.

BRRRRRRRR.

The Wall is where bastards, some nobles (like poor Sam Tarly who is a horrible disappointment to his father) , rapists, murderers, thieves and other low-born ilk have a chance to make something of themselves defending the northernmost part of the Kingdom from...well, lots of things. Jon's uncle Benjen "took the black" himself, and it's through him Jon learns of the opportunity and decides to go himself.

Like most fraternities (not Phi Kappa Gamma, beer-guzzling fraternities, but actual brotherhoods) a committal vow is required of all new initiates. It's this vow, and its importance within the world, that compels Jon to stay when he doesn't want to. Deserters from the Wall are as good as dead. In fact, in the beginning of Game of Thrones (book or movie), the first scene with the Starks is Ned beheading a deserter from the Wall. Makes Jon think twice a little bit, and thusly affects his decisions and thought-process.

So, how do you apply this to your world?

What George RR Martin did with Jon (and really, I could go on for weeks just on Game of Thrones alone) is he took the time to figure out how the world affects his character. What's true in both fiction and life is that our upbringing and the society in which we're brought up affects us as we get older. The key is deciding how your world dictates your character and whether your character chooses to rise above it.

Case in point: Katniss Everdeen. Yes, I KNOOOOW but I loved the Hunger Games. So anyway, here's what society dictates for Kat: Be poor, participate in Hunger Games, die.

What did she do? *SPOILER*

She takes down the freaking President. Not herself, mind you. She misses the important action *GRRR*. But rather than take everything lying down, Kat becomes a symbol of hope for an oppressed people. She rises above the expectations set for her.

That's all well and good for the protagonist/main character/whatever, but since it's hard to pinpoint a main character in Martin's multi-POV epic, I kinda consider Jon to be more of a secondary character. He's important enough to warrant his own POV, sure, but in the end, the book finds its focus around the Lannisters vs. the Starks, and Jon's got bigger (and undeader) fish to fry.

This leads into using your world to round out your secondary characters too. We'll discuss that at a later date ;)

World-building - Fantasy & Society

This goes for SF too, but I'm in the mood to talk about fantasy today for some reason. I guess between reading Game of Thrones and playing Dragon Age: Origins, I've got fantasy on the brain. Also, I really wish I'd developed this a little better, but hey, I'm not a teacher, so I can get some slack, right? :D

Anyway, one of the most important aspects of building your world, be it SF or fantasy, is the society in which your characters live. This is something Dragon Age does fantastically. In the game, you can choose from three races: Human, Elf, Dwarf. Within those races are classes. For Human, you can choose Mage or noble. For Elf, you can choose Dalish (elves who live in the forest), Mage, or commoner (in which case you live in the alienage, which is an impoverished, sectioned-off portion of a city ). For Dwarf, you can choose noble or commoner. Whatever you choose decides how other characters in the game see you.

If you're a Human noble, for example, everyone treats you with optimum respect, referring to you as "my lady" or "my lord" depending on your gender. If you choose Mage, people are afraid of you because they don't like/understand magic. If you choose Elf, people are more likely to talk down to you because most elves are servants. Regardless of your standing as Gray Warden, people will still refer to you by your previous social status. Most of the time, you have to tell them you're a Gray Warden to get a little respect.

So, what do you need to think about in order to construct your society? Well, a lot, actually. Now don't be alarmed. There are a lot of wonderful tools to help you along your way.

Some important ones:

• Economic/class model - This one is probably THE most important one because this will shape how your characters view the world and themselves. Is it a commerce-based society? Are merchants the at the top or close to the bottom? Is there a gap between haves and have nots? Are you shooting for more of a communist-based society where there's no wealth?
  
         Ex. Suzanne Collins' The Hunger Games trilogy uses the world's economic model as the catalyst for the Hunger Games. Basically, it's all for rich people's amusement.
  
  
• Technology - Are you writing steam/cyber/other punk? Basing your society around the Middle Ages when people still rode on horses? Is it an era of invention?
  
         Ex. Steampunk is all the rage these days. Kady Cross' The Girl in the Steel Corset utilizes the steampunk automatons and advanced technology. The plot centers around automatons being used for dastardly deeds.
  
  
• Religion/Spirituality - This is probably tied with Economic model in terms of importance because it will help shape your characters, whether they're believers, non-believers, or just don't care either way.
  
         Ex. In Dragon Age (I know, I know, but really, it's a good example), the central religion (Chantry) is built around a prophetess and a higher power referred to as the Maker. Chantry belief dictates everything from the lore surrounding the evil critters you have to kill (Darkspawn) to how Mages are treated to curses and praises. There are people within the Chantry called Chanters who can only speak the religious text the religion is based around.
  
  
• Geography/Setting - The actual world part of your world-building. If you are setting your story anywhere besides present-day Earth, you're going to have to figure out the geography. Draw *really crappy, if you're like me* maps. Figure out important places. Mountain ranges. Deserts. Flat lands. All these things (and more) will determine how your character travels and the potential hazards therein.
  
          Ex. Star Wars. Dune. Game of Thrones. Pitch Black. Each of these uses setting to show something about character, whether it concerns how the character grew up--Luke was raised on a desert planet with 2 suns--, a character's attitude--Ned Stark is often referred to as cold because of his "northern blood" while characters from around Kings Landing are "those southron folks"--or a character's adaptation to his environment--Riddick's night-vision.
  
  As you can see, when you build a world, you literally build a world. You design it. You make its history, its culture, its classes and all of that. Everything, be it where a character's from to what he believes in, will shape your characters and their reactions to the world around them. 

World-building - Science Fiction

I'm gonna try to cover this. It's a large topic and can become incredibly intricate. So, that being typed, I'm going to share with you my experiences world-building my science fiction and fantasy ideas and *in theory* how to bring your worlds to life. Today, I'm going to cover science fiction. Next time, I'll cover fantasy.

When I started writing Duality, I had in mind this almost dystopic setting where there were 5 major cities--the locations of the 5 laboratories--and everything else had just gone to crap. For my world's purposes, science had replaced religion as the opiate of the masses, and the government invested more in the labs than in its citizens. Because the action takes place mostly in the labs, I had to include this information in spurts, but avoid "As you know, Bobs," which was especially tricky given my MC's amnesia. So a couple of things Dima asks about, and I have a few opinionated secondary characters. I try not to info-dump.

For example, there's a scene where Dima's watching the lab workers unload cargo for the next round of experiments. As the workers unload the human components, she spots a stringy-haired kid in ratty clothes, covered in dirt:
"He was a gutter-rag, a kid who lived on the outskirts, not in one of the major cities. He represented the most impoverished section of America, and now he was being led like a lamb to slaughter."

She doesn't go into a diatribe concerning which cities were the major ones (because she might not remember), but she gives you enough insight into how the people who live outside those major hubs are treated (like they don't even matter). Here's a second example:
The PTSD. The missing leg. His desert-scented fear… The Oil War. The government had thrown him into a useless battle with the Saudi nation for garbage oil that couldn’t even be refined effectively enough to pad the country’s thinning supply. Even though it had ended years ago, he looked like he was still in it.

She doesn't discuss how the War started or ended, only that it occurred and had affected the person she's thinking about.

In other parts of the story, Dima might be testing her memory, thinking about what she might or might not remember. It's possible to weave in bits of history creatively without it being overbearing. What I try to do is focus on my world as my MC knows it rather than as an outside observer. That helps to avoid info-dumps and "As you know, Bobs."

But how do you know what to explain to your audience and what not to? That primarily depends on your main character. Is your MC an alien in the world you've created? If so, then he's not going to know much about what's going on, and in informing the MC, you inform your audience. One of the best examples of this is the Syfy series Eureka, which follows Sheriff Jack Carter as he tries to maintain peace in a town of super geniuses building stuff for the government. Here's one of the more entertaining quotes showing what I mean:

Allison: Now that we are involved I had to file an IA248 with the DOD
Jack: IA??
Allison: It's the form required for our intimate alliance.
Jack: There can't be a form for that!

See what I mean? Jack doesn't know what an IA is, and Allison tells him without giving too much info, like why the form is required or when the forms first came into use. Just enough info to answer Jack's question.

The thing to remember about world-building is that, even though we as the writers need to know EVERYTHING about the world we're constructing, the readers DON'T. The information they need should be given in context with the characters and situation.

If you guys have questions, leave them in the comments, and I'll try to answer them in the next post.

learning to be a real writer

i just read rachelle gardner's post and i'm thinking about my WIP and my new project and my head is spinning. and to think, if i were in that real world, i'd be marketing on top of it. i don't know if i'm just tired or if i'm sick *again* of editing, but i do know that this would be the best ever time to find some good beta readers. i love my mom, but she'll never get around to it.

the sad thing is that, while other people have significant others or family members or close friends to do this, i don't have anyone in my immediate vicinity. i have overseas friends on my writing site whom i've never met, who have been with me for almost a decade while i built this book. i have whined and complained to my mom about it, but that's the extent of it. my significant other has minimum interest because he's not really a reader. i don't know many people who enjoy SF. so i'm kinda stuck. and my eyes have been over it so much that i'm just seeing words and losing Dima's voice.

i know that there's a site to hook you up with partners, and it was on someone's blog the other day... i guess i'll have to sift through the last few entries and see if i can find it again. i need someone else's eyes on this thing before i hack it to death...

in the meantime, i'll be playing in my fantasy book. i finally have character motivations figured out. now i just need to find the point at which it all comes together.

my only hesitation with this is that i'm afraid some of the terminology will become cumbersome. i know that fantasy writers like s.l. farrell and george r.r. martin use loads of different terminology in their books, and that some names are a little taxing (no offense, i know it's all about world-building; names are incredibly important), but i fret. because i'm not the genius that either of them is, so i get nervous. i guess my penwrights friends will tell me if it's annoying.

ugh. it's distressing to be a writer sometimes...

so, you tell me. what do you do for beta readers? i'm sure a lot of you are in writers' groups, but unfortunately, my job takes away a huge chunk of daylight and my hours are never consistent (i know, excuses excuses). any suggestions?

mini-vacay!

i had five days off IN A ROW, meant to be spent with 8 wagging tails and my parents. but then the white death came. so i spent them at home, playing loads of batman and wishing i was covered in dog.

but that's okay. eventually spring will come. and life will be good again.

i feel bad, though. i haven't done anything remotely productive in those five days except sleep and play batman (yes, that counts as productive, at least in my world). my bf and i had a call of duty date, and that's about it.

i'm having trouble wrapping my head around my next project, partially because the skeleton of it is still sitting at my parents' in my li'l red notebook, and partially because i have NO IDEA what's going on. i started writing a little bit, but i'm not very satisfied, mostly because i don't know how it all fits together. this one is going to be more challenging because it's four viewpoints as opposed to the one i've spent so much time with. and the material, at least for one of the characters, is a lot heavier than what my last project was, so i'm having fits. and i'm afraid that my antagonist is going to be a fantasy version of hitler.

then there's the question of why tal was born with the ability to use magic. or manipulate elements, or whatever it is she's going to do. i guess the biggest challenge is world-building. my last project was just set 100-something years in the future. this one is a whole new world entirely. without elves or dwarves, but with dragons and humans as an oppressed race (in my world, they're connected, so they serve as one race, and i don't even know if that's possible).

the only ones i know about are the dragon and human. so i have a lot of thinkin' to do. and i still have revisions to do on dirge.

i use-ta could multi task...