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Author: Bryan
WriteTip: How To Approach Worldbuilding, Part 3
The following is an excerpt from my book How To Write A Novel: The Fundamentals of Fiction, Chapter 9: Worldbuilding. It is part of a multipart series. For Part One, click here. For Part Two, click here.
Science and Industrial Development
The battery was a lithium thionyl chloride non-rechar-geable. I figured that out from some subtle clues: the shape of the connection points, the thickness of the insulation, and the fact that it had “LiSOCl2 NON-RCHRG” written on it. (The Martian, Andy Weir) The planet’s famous red colour is from iron oxide coat-ing everything. So it’s not just a desert. It’s a desert so old it’s literally rusting. (The Martian, Andy Weir)
Another key area of world building is always science and industry. But in science fiction, the futuristic and scientific aspects of this take on special importance and significance for both narrative plausibility and practical reasons—science and development are key elements readers expect. Science Fiction readers love cool tech and science that makes sense or even the hint of such. Even if it is not real, if you make it sound plausible, they will often find this fascinating and engaging.
What kind of transportation methods exist? Horses and wagons or buggies? Cars and trucks? Planes or space ships? Hovercraft? Each type of transportation requires the industrial and scientific development to make them possible. Given we barely have anything of the sort ourselves, a lot of thought will need to go into these aspects. Where do they get the fuel? How did they devise it? What materials are starships made of and their various parts? Do they have laser or projectile weapons? What kind of defensive armaments do people and ships have and what are they made of? Are they physical or digital? Etc.
Then there are questions of military? What type of military do they have—formal or informal? Private or government? Do they have armor? What type? What is the structure and ranking system? Where are the bases and training facilities? How do they recruit—volunteers or conscription? Do they use animals or vehicles or both? What kinds of duties and missions are they called upon to undertake usually? What is their history? What is their relationship with larger society—respected or hated? Feared or loved? Etc.
Technological dependence also says a lot about a culture and affects it in many ways and has many meanings. How advanced are they? How did they get there? If there is tech and science, there must be engineers and scientist. How did they develop these abilities and create or acquire the tools required to perform the tasks? Do they make them themselves or trade for them? How do various cultural approaches differ in performing, understanding, and approaching various tasks? Here’s an aspect where time frame, as mentioned earlier, plays a key role. If they are a far advanced society, time frame matters. For humans especially, believable time must have passed for certain technologies to be possible. And again some require sciences and engineering feats we have yet to develop so time must be allowed for those to occur as well. For alien cultures, it is possible to have societies which are advanced over our own, but again, they must have science and tech and engineering knowledge and skills that they acquired earlier which surpasses our own. Not all of this always has to be explained in detail but the writer should think it through and be full aware of the implications of it and write the story accordingly so it adds credence to the world building for readers.
Are there robots or androids? Are human cyborgs or modified humans part of it? What about animals? Are there hybrids? Is there nanotechnology? What is the state of computers and media? Is there virtual reality? What problems from our own world and times have been solved to make such things possible or to advance society? What modifications to laws, mores, etc. have been required to permit the developments, if any? What sciences are used and understood by alien cultures and how does this compare to human knowledge? What ability to exchange such information exists? Writers must consider all of this and more as they create.
I realize that at this point, you may be feeling overwhelmed by all that we’ve covered. But I hope you are beginning to see the complexity of world building and how one set of questions leads to many others on many different topics. There’s a reason so many authors choose to work with our existing world and its history rather than make up their own. It’s complicated to create a well-rounded world, and as I have said, you don’t always know what you’ll need until you need it, but it is also easy to overlook things that may stand out to readers as omissions that were important to questions they are asking.
The rest of this chapter, we’re going to cover some areas that get overlooked a lot in world building but may be just as important as the rest. Let’s start with Agriculture, Horticulture, and Diet.
Agriculture, Horticulture, Diet, and Medicine
On the bare forest floor, in the open space between the trees, grew stemless plants of colossal size. Their leaves, four or five inches broad and eight or nine fee in length, sharp-toothed along their sides and metallic of texture, were arranged in loose roset-tes. At the center of each gaped a deep cup a foot in diameter, half filled with a noxious-looking greenish fluid, out of which a complex array of stubby organs projected. It seemed to Valentine that there were things like knifeblades in there, and paired grinders, that could come together nastily, and still other things that might have been delicate flowers partly submerged. (Lord Valentine’s Castle, Robert Silverberg)
Agricultural development is very much determined by geography and technological and scientific development. What types of crops and animals are used for food and clothing, depends upon the resources available like location of water supply, crops, grass and plant life, landscape, and more. You won’t grow much in a desert, for example, but if there are oases with water, some sheep herding can occur, like in the Middle East. There can be camels, horses, and other desert animals. In mountains, it is hard to farm the land, but there can be animals who live there as well like bears, venison, various birds, and other mammals which could be hunted for food. Plains are great for farming but limited as home for much beyond domestic animals, though coyotes, wild birds, rabbits, and other animals may thrive. And with each decision about animals, it is important to consider predators and prey—the circle of life. For anywhere one group of prey live, predators will arise to feed on them, and not just humans, but other animals. Additionally, landscape determines what kinds of bushes, shrubs, grasses, trees, etc. will be available and natural to the region for animals to live in and eat from, etc.
What type of crops you have and natural resources, of course, determines the diet of local humans and other inhabitants, and so plant life, crops, water, etc. all determine what people will eat in various parts of your world and how much as well as what they may trade to other areas for goods they cannot get. At the same time, what clothing they wear is determined by land and weather conditions and resources as well. Do they have technology to manufacture clothing or make it by hand? And so on. Sartorial concerns are easy to overlook. I remember one of the first editor comments on The Worker Prince, my first novel was “You’ve written 90k words without mention of what anyone is wearing. It seems odd.” Ooops. So I had to go back and work that in and think it through. I know of other authors who have had similar experiences.
Along with crops, animal husbandry and resources comes the issue of medicine. What kind of medicinal resources do they have? Formal or informal? Do they make drugs or manufacture them? Do they use home remedies or chemically devised cures? Do they have trained medical personnel or just village experts? Etc. Who treats the animals? What kind of training do those people have? Is it science or magic? And if magic exists, how does that work and what are the costs of performing the spells or using magic? There is always a cost for everything. Sometimes casting spells can only be done once every few days, sometimes it costs blood or energy that wipes out the magician, etc. These and more concerns become very relevant.
If there is technology, do they use machines to farm or just animals and primitive equipment? How industrial is agriculture? How regional is it? What about fishing or hunting or trapping? Can they make hybrid plants somehow by cross pollinating or do they just have to plant whatever seeds they can find?
As we think about landscape and natural resources like plants and trees, we must also consider architecture and design. Do they have formal architecture or is it regional and informal? Are there whole industries for construction and design or is it done on the fly? Are quarries and mining involved? How do they gather materials? What issues and regional concerns come into play to determine locations of towns and types of housing, etc.? Are there formal schools or are people educated at home? What kind of educational system and higher learning is available? Are there apprenticeships? Are there internships? Trade guilds? What kinds of tools and equipment do they have available and how are those manufactured? And then, where do they get the money to buy land and build? How is land and wealth allotted? What role does it play in society?
Beyond that, what about energy production? Nuclear, solar, wind, fusion—what kind of power will there be? What of war? What of peace? What about nuclear and chemical weapons? What will medicine look like? Will we have cured diseases, genetic defects, cancer? What new answers and treatments will have been devised? What communication devices and methods will be common? What will have faded away?
Money and Business
Figure 9-1. (Monetary exchange rates in The Name of The Wind, Patrick Rothfuss, cited on http://www.brinkofcreation.com/KKC-CurrencyExchange/CurrencyExchange.html)
Money and economy are one of the most overlooked of world building concerns. Patrick Rothfuss in his Kingkiller Chronicles, beginning with The Name Of The Wind, is an author noted for having created a sophisticated economy for his world, including different monetary systems for various people groups and conversion and even commonwealth currency for use in trade between them. The system is sophisticated enough that fans on Reddit have figured out approximate conversions to U.S. dollars and Rothfuss himself has created the above widget and can lecture on the system for an hour or more. That is a well-thought out system. And of course, along with money comes the entire business system and how it functions related to currency and trade and what types of businesses thrive and arise according to resources available as well as needs of the world. Various service industries like money changers and trade posts will arise if needed along with banks, law enforcement, security, and more, but then there are various other businesses as well taking on roles in making food, clothing, and materials, etc. and sometimes even vendors who then sell their products to the public.
The key element is what they value—what their economy is based on. In much of the Western world and the wider world today that would be minerals like gold, silver, bronze, diamonds, etc. In ancient Africa, however, much value was placed by many tribes on conch shells. They used conch shells to make everything from jewelry to clothing to even tools, weapons, and more. Once Europeans discovered this, they began trading conch shells for things they valued far more like gold, diamonds, etc. which were abundant in Africa. The Europeans found many sources for obtaining conch shells, and since the African tribesmen valued them so much, convincing them to trade something the Europeans considered worthless for things they coveted, was easy. It also gave the Europeans immense power over the Africans, particularly because conch shells were cheap and easily obtained and not valued greatly by anyone else around the world. In part, the colonization of Africa came about at least economically because of this dichotomy. The Europeans used it to establish inroads they exploited to take over mining and other industries to extract minerals and eventually conquer the tribes and their land. So what do people in your worlds and cultures value? How does that affect their trade relationships and subsequent power relationships with others? These are major concerns related to the economic system of your world building which should be carefully considered.
Economic systems can get immensely complicated very quickly, of course, but careful thought should at least be given to basics needed for the story. And then you should be prepared to address the various issues and needs these concerns raise as you go, if you want to create a believable system that doesn’t leave readers confused, frustrated, or scratching their heads.
(To Be Continued)
One Week ‘Til My Next Novel: THE SIDEMAN
On October 15th, I started a new venture. I took a book I knew readers loved, because I’d tested it, but hadn’t sold to traditional publishing yet despite editors all praising it, and put it out via a small press called Boralis Books. Since then Simon Says has not only earned back my initial investment but exceeded it and received mostly 5 and 4 star reviews in doing so, a higher percentage than any of the other 25 books I’ve done.
Simon Says was hard to sell traditionally because I mixed genres—near future science fiction and procedural thriller—in a way that has not really been tested. Only JD Robb is doing it in any noticeable way. So publishers didn’t know what to do with it. But as friends and family who’d test read the book kept asking me, again and again, when’s that book coming out, I knew I was onto something. I didn’t get that kind of enthusiasm on my prior books.
And Simon Says, while it can stand alone, is actually book one in the John Simon Thrillers series, so as part of my strategy, I planned to launch a new book every quarter in that series and eventually add other series and titles. So here we are, 4 months after release as of February 15, and I’m so excited about the next John Simon Thriller, I’m releasing it 5 days early on February 10th.
It’s called The Sideman, and preview of several chapters has actually been up since Simon Says released. (A preview of book 3, Common Source, will be posted Feb. 10 when The Sideman Releases. It’s up for preorder now via Amazon and Barnes and Noble, and IndieBound will have it soon. To see what people are already saying about The Sideman as well as those sample chapters (3) and buy links, click here.
And if you haven’t read Simon Says yet, check out the same for it here and expect to see it on sale to celebrate the release of book 2 next week. I appreciate your support of this new venture and can’t wait for you to read my latest. Here’s the first reader review on Goodreads:
WriteTip: How To Approach Worldbuilding, Part 2
The following is an excerpt from my book How To Write A Novel: The Fundamentals of Fiction, Chapter 9: Worldbuilding. It is part of a multipart series. For Part One, click here.
Solar System and Galaxy Relations
The thirteen planets in the star system all varied in size and shape, the outermost and innermost planets being the smallest. Three of the larger planets had several moons. Vertullis had two. While Vertullis, Tertullis, and Legallis alone had atmospheres suitablefor human life, due to Borali scientists’ determina- tion and skill with terraforming, all but one of the system’s planets had been inhabited, though some with populations consisting only of a few workers and mili-tary personnel. The planets revolved around the two suns, Boralis and Charlis, in an unusual orbital pat- tern due to the effect of the twin gravities. Because of the limitations in terraforming science, the four planets nearest to the suns had been surrendered as viable habitats for humans. Of the thirteen planets, Vertullis was the sole planet which had a surface con-taining fifty percent forest, and it had one other distinction. It remained the only planet in the solar system whose native citizens weren’t free. (The Worker Prince, Bryan Thomas Schmidt)
If you are dealing with interplanetary relations—is more than one planet involved? If so what are their relationships physically and spatially and do people travel between them? Are there unique transports like space elevators or quantum tunnels or something? Do they use FTL, Faster Than Light tech? Or do they travel for days and weeks like our current limitations would allow?
As most of us know, one of the key tropes of the science fiction sugenre are starships. They come in all shapes and sizes from planet sized like the Death Star to slightly smaller like Imperial Destroyers down to shuttle craft and tiny fighters like X-Wings or Vipers and everything in between like Battlestars or Cruisers. Some ships are meant for short term travel to and from one locale to another. Others are actually living spaces like cities where hundreds or thousands of people reside and work for years on end. Obviously the size and scope of usage determines the facilities required. And one should take into account the various needs for sleeping, recreation and entertainment, food, medical facilities, waste disposal and personal hygiene, storage, and more. Obviously the longer the ships must function as homes and larger the number of inhabitants, the more concern for supplies, storage, etc. becomes an issue. For every inhabitant, a certain amount of food, water, etc. will need to be regularly used and thus available and stored between ports and stops, with extra reserves for periods of battle, long distance travel, etc. Haircuts, clothing, shoes, grooming, and more are also concerns as well as psychology and counseling, law enforcement or regulations, even criminal detainment, disposal of deceased, sex, and many more. Are they warships or peaceful? Do they have weapons and defenses? What are they? How secure are they? How does this vary according to uses and needs? How does having such items affect the crew compliment and training and roles? So all of this must be considered and weighed carefully in designing your starships according to their purposes and uses.
Solar Systems can be big. Pluto is 4.5 billion miles from the sun at its farthest, while earth is 92.96 million miles. Light can traverse 4.5 billion miles in 5.5 hours. But at current rates, space craft would take years. So to expediate things and make interaction between planets possible, science fiction writers created Faster Than Light travel, FTL for short. This tends to be a minimally defined variant that allows ships to travel between planets in days or hours rather than years. It is a cheat that even some hard science fiction writers employ. Because the practical reality of space travel deals with numbers so high it is hard for writers, let alone readers, to fathom. Not to mention the loss of dramatic tension one experiences when ships must fly toward each other for years before engaging in battle. Whoo hoo, how tense and exciting that is! For creating dramatic tension alone, FTL is really useful. There have been many forms and explanations for it from hyperdrives to warp drives, but all generally come down to the same thing: faster travel between celestial bodies and galaxies.
Hyperspace, in use since 1940s is often depicted as an alternate reality or universe or some sort of subspace existence. Since the science involved is imaginary, you can make assumptions, design mechanisms and assign limits any way you choose as long as you are consistent and plausible. Are there preexisting gates used to enter hyperspace or is it created through some kind of physics or scientific displacement using the special hyperdrive? Are the gravity wells of planets and stars necessary for its success or can it be done anywhere? What role do gravitational fields play? How do you calculate and carry enough fuel and resources to get there and back? Where do you acquire them along the way if needed? Then what about communications? At such high speeds, sound waves are affected. Can they keep up or do you need special communications methods and devices?
And of course, if you can travel between planets, you must address the issue: how are they related to each other? Are they familiar with established relationships that are good or bad? Are they strangers and unknown? Do they share a government or treaties or other common agreements and rules or is it a free for all? Who are their primary populations and what species? What is their primary language and currency? How do any differences get bridged when two different planets interact? How are conflicts resolved and what incompatibilities must be overcome? What is the ongoing history of relations, if any, and what are the issues and obstacles which have arisen and continue to affect ongoing relations?
You must consider separate geography, resources, etc. for each planet. What do they trade? Why? How do their resources, tools, etc. differ? Do they travel across the planet differently? Do they need life support domes? Is gravity modification required? How can different species interact in space that support different life forms?
If your story takes place on Earth or a single planet, on what part of the planet is the story focused? Does the story take your characters to many places or is it concentrated in one area? Knowing this will define the amount and type of research you will need to do. Obviously, knowing one or a few areas really well will be simpler than having to research many and answer all of these questions about them.
Society and Cultures
Doubled, I walk the street. Though we are no longer in the Commander’s compound, there are large houses here also. In front of one of them, a Guardian is mowing the lawn. The lawns are tidy, the facades are gracious, in good repair; they’re like the beautiful pictures they used to print in the magazines about homes and gardens and interior decoration. There is the same absence of people, the same air of being asleep. The street is almost like a museum, or a street in a model town constructed to show the way people used to live. As in those pictures, those museums, those model towns, there are no children. (The Handmaid’s Tale, Marga- ret Atwood)
The next concern is what kind of society and cultures will be present in the setting of your story? If you create aliens or nonhumans, you must first determine how humanoid they are going to be or how different from us? Why? And how did they come to be that way? These questions can be decided by a number of factors: factors about the world on which they will live; practical concerns for language and communication, the relationship they will have with humans, etc.; biological and geographic factors; etc. Since aliens are often what draw many readers to science fiction, they are important, as is the distinction from mythological creatures. Unlike these folkloric beings, aliens are grounded in scientific possibility and so such factors must be careful considered and employed in designing and presenting them. Luckily, the research can be fun.
There are substances other than oxygen which can release energy from sugar and serve biological function, for example. Hydrogen sulfide can replace water in photosynthesis as well. And silicon serves just as well as carbon as a basic building block of life. Your imagination can take you fun but scientifically plausible places if you do the research.
Besides scientific plausibility, however, your aliens must also serve narrative interest by being able to interact with human characters and sometimes even communicate with them and by being intriguing enough to engage reader interest, pique their curiosity or even inspire their fear. Most of the time, this will require sentient beings, but on occasion, when the aliens are meant to serve only as obstacles and antagonists to human characters’ goals and interests, nonsentient alien monsters will do. Don’t forget to consider the evolutionary advantages of the aliens’ unique features. If they don’t need hands, what do they have for limbs? If they can float and don’t need legs, what other features might they need instead? Is genetic engineering involved or is it entirely organic? All of these concerns can lead you in interesting and intriguing directions.
If dealing solely with humans on Earth, what races are involved and what are their relationships to each other? How do they communicate? Do they need translators? What social classes, attitudes, and history do they share and how does that affect their interactions and determine their relationships, etc.? What are the societal roles for each gender? How are LGBT people regarded and treated and what place can they have in society? Are there any limitations placed on people for reasons of class, sexual preference, race, religion or something else? What reasons lie behind any restrictions and what is their history?
There are also environmental factors. If other elements from oxygen and carbon are key elements in our world, what they value, what they eat, what resources they need will all be affected. Their priorities will be influenced accordingly and so will trade, economics, sociocultural interactions, etc. Their goals and values will also reflect this. Food chain, ecology, and economy and the implications of each are key factors as well. Each alien culture will have something distinctive to offer the larger whole toward economy, etc. What that is, how it developed, and what it says about them are important factors to consider as well. Additionally, their evolutionary makeup affects their emotions and memory and learning styles. What if they have a group brain and can share information? How does this group mind affect individualization or emotions or relationships? Is there privacy or none at all? How does this interconnectedness affect their attitude toward and trust of strangers and outsiders? Etc.
While it is a convention of science fiction particularly that humans and aliens are able to understand or speak each other’s languages, in your world are universal translators required or even interpreters? Can they communicate directly or is some form of mind to mind communication used rather than vocal speech? Behavioral and physiological traits can both serve as barriers and increase bonding in relationships with human characters, depending upon how you design them. Thinking these through carefully is key. Also the societal mores, roles, statuses, and laws are factors which will play a role in how aliens and humans think of and about each other and how they interact and will often be key to their relationships and interactions on many levels constantly. What are mating and child bearing and rearing rituals? Are they monogamous or poly? Do they love? Do they form attachments for life or short term or at all? Do they have philosophy or religion? Do they have science or industry? What are the various roles and how are these affected by geography, physiology, beliefs and more?
And did I mention the arts? Do they have fine arts? What about music, drama, painting, sculpting, etc.? What forms to they take? What instruments and mediums are used? What languages? Where are they performed or displayed? What do they look and sound like? How valued are they and by whom in the culture, etc.? A realistic culture will always have such things interwoven into daily life. Loved or hated, characters will take note of them.
“Remember this, son, if you forget everything else. A poet is a musician who can't sing. Words have to find a man's mind before they can touch his heart, and some men's minds are woeful small targets. Music touches their hearts directly no matter how small or stubborn the mind of the man who listens.” (The Name Of The Wind, Patrick Rothfuss)
(To Be Continued Next Week)
WriteTip: How To Approach Worldbuilding, Part 1
The following is an excerpt from my book How To Write A Novel: The Fundamentals of Fiction, Chapter 9: Worldbuilding. It is part One of a multipart series.
World Building is something that every author has to do, no matter what the genre or setting. For example, here’s a passage from Laura Lippman’s In Big Trouble, followed by another from And here’s another one from Robert Silverberg’s Lord Valentine’s Castle:
A sign hangs next to the cradle of Texas liberty, reminding visitors that concealed firearms are not permit-ted on the grounds… …Within the walls, it’s like being in a shallow dish— azure sky above, the taller buildings crowded around, dwarfing the Spanish mission, which isn’t very big to begin with. She walks through the gardens, noting the placement of each plant, each bench, each sign. Changeis not to be tolerated. She picks up a cup with a lit-tle electric blue raspa juice inside and drops it in the trash, as fastidious in her own way as the Alamo’s keepers, the Daughters of the Republic of Texas. It is a shrine, and not only to Texas liberty. A shrine to her, to them.
And then after walking all day through a golden haze of humid warmth that gathered around him like fine wetfleece, Valentine came to a great ridge of outcroppingwhite stone overlooking the city of Pidruid. It was the provincial capital, sprawling and splendid, the biggest city he had come upon since—since?—the biggest in a long while of wandering in any case. There he halted, finding a seat at the edge of the soft, crumbling white ridge, digging his booted feet into the flaking ragged stone, and he sat there star- ing down at Pidruid, blinking as though newly out of sleep. On this summer day, twilight was still some hours away, and the sun hung high to the southwest beyond Pidruid, out over the Great Sea. I will rest here for a while, Valentine thought, and then I will go down into Pidruid and find lodging for the night.
The Lippman establishes the setting as contemporary San Antonio, downtown to be specific. The Silverberg is a science fiction secondary world, but both have the same effect: introducing and drawing us into a living, breathing setting we can picture in our minds. This is world building.
No matter what your genre or setting, the basic concerns tend to be the same. Some require a bit more than others, like science fiction worlds requiring space travel, alien cultures, other planets, etc. but all still call for thoughtful consideration of the same categories of details. In her chapbook Checking on Culture, Lee Killough offers a great checklist which lists the relevant concerns. Here’s my adaptation of it:
Habitat__
Cosmetics__
Humor__
Religion__
Anatomy__
Cosmology__
Hygeine__
Science/Magic__
Psychology__
Death__
Knowledge Preservation__
Sex__
Agriculture__
Education__
Labor__
Sports/Games__
Animals: Domestic__
Etiquette__
Laws__
Superstitions__
Animals: Wild__
Elders__
Machines/Tools__
Taboos__
Architecture__
Families__
Marriage__
Timekeeping__
Arts__
Food/Cooking__
Math/Counting__
Towns__
Calendar__
Gestures__
Medicine__
Travel__
Childhood__
Government__
Modesty__
Transport__
Class__
History/Heroes__
Mythos__
Infrastructure__
Clothing__
Hospitality__
Pregnancy__
Warfare/Weapons__
Commerce__
Horticulture__
Professions__
Weights/Measures__
Communication__
Housing__
Property__
Use this list by checking off the items as you go through them and think through that aspect of your world. But first things first, before you start world building, you must already know your time frame. Near future, current day, or far future? When does your story take place and where? This will determine everything else. Then your research and planning can center around things relevant to that time period. Once we know the time frame, we proceed on with the list. The order depends on your priorities, but for me, it usually goes something like this:
Existing or Secondary World
He returned his attention to Barbirike Sea, which stretched, long and slender as a spear, for fifty miles or so through the valley below the gray cliff on which Kasinibon’s fortress-like retreat was perched. Long rows of tall sharp-tipped crescent dunes, soft as clouds from this distance, bordered its shores. They too were red. Even the air here had a red reflected shimmer. The sun itself seemed to have taken on a tinge of it. Kasinibon had explained yesterday, thoughFurvain had not been particularly interested in hear- ing it at the time, that the Sea of Barbirike was hometo untold billions of tiny crustaceans whose fragile brightcolored shells, decomposing over the millennia, had imparted that bloody hue to the sea’s waters and given rise also to the red sands of the adjacent dunes. Furvain wondered whether his royal father, who had such an obsessive interest in intense color effects, had ever made the journey out here to see this place. Surely he had. Surely. (The Book of Changes, Robert Silverberg)
Existing worlds are Earth or known planets in our solar system or even a few beyond. Secondary are inventions of the author. Are you inventing everything or building on what already exists and what we already know? Then you need to know geography, gravity, culture of lifeforms, etc. How many suns or moons? How many other planets? Etc.
If you are creating a secondary world, do not put your planet around a famous celestial body just because it is well known. Many of these are highly unlikely to have habitable planets around them and it requires careful thought about viability before placing planets there, particularly earth-like, human habituated ones. You should carefully consider the scientific realities of planetary location and solar system building before deciding upon such a course, even if writing a soft science story, instead of hard science fiction. Because believability for readers is paramount. Remember: you should create the questions readers ask carefully and guide them toward questions you can answer satisfactorily and away from ones you cannot. Not one covers everything. There will always be gaps. But try to avoid awkwardly obvious, glaring ones. Also, constellations will appear differently from various points around the galaxy, so don’t describe them as they appear on Earth when viewed from elsewhere.
Secondary or not, ask yourself what are the key geographic features and how do they effect population density, location of settlements, travel around and across the surface, economics, weather, etc.? Avoid oversimplifying but just saying a planet is all jungle, all ice, etc. because based on location from sun, rotation, geography and other factors, this is not scientifically plausible as we know it and will tend to seem unrealistic and poorly considered. Frank Herbert put a lot of thought into his desert Dune planet, but too often the results of oversimplifying come across as lazy thinking. Planets are big places and will have a lot of variety. For example, civilizations will form cities around bodies of drinking water and food supplies, and their diets will vary depending upon the area in which they live and the wildlife, plants, etc. that also reside there. Those things also choose habitats based upon location of resources and so on and so forth. There is a circle and a chain of logic that will determine much of it and thus should be considered.
Geography determines travel options. Heavily mountainous areas may not have room for landing zones for starships or local air travel. Large bodies of water may need to be traversed via boats, ships or other craft in order to avoid long delays in supply, commerce, shipping, etc. So consider these things in determining where your cities are located and how people get between them.
Gravity affects quality of life from retention of water and atmosphere to breathing to ability to run and jump, etc. But this can also affect the magnetic field and exposure to radiation from solar flares, cosmic rays, and more. High gravity worlds would have shorter mountains and require people to have thicker, stronger muscles. Air would be denser and tension on body parts might lead to premature aging, sagging faces, etc. Also accidents might multiply as objects are thrown about or pulled loose by stronger gravity and strike people, vehicles, buildings, lifeforms, etc. On high gravity worlds, rain and rivers would erode land much more quickly as well, smoothing rough edges. Oceans would be calmer and bigger, more extensive, and evaporation would be slower, leaving the air and atmosphere drier with water taking longer to boil and clouds hanging lower. Planes would need bigger wings as well. Reverse these factors for lower gravity worlds, with larger land masses and smaller bodies of water, etc.If your planet has an Earthlike atmosphere, a very slow day will result in extremes of temperature from day to night. Wind speeds will be affected by rotation as well. Oblation will tend to occur for planets with shorter days and rotations verses longer. It will be thicker or thinner at the equator accordingly. Axial tilt will determine the seasons. Slants greater than Earth will create more extreme seasons. Weather conditions will be affected. The amount of exposure to the sun’s heat determines extremes. Wind and ocean currents will moderate the effects. Higher rotation planets will have more hurricanes and dangerous winds. Ice caps form because poles receive less heat and water freezes. Planets with ice caps will generally be cooler than those without. The skin color of people can be affected by location with desert peoples generally tending toward darker tones due to sun exposure, while people living in shadows or colder climates who spend much time underground, indoors, etc. may have lighter skin. All of these are interesting factors to take into account.
As you can see there are many factors to consider and I can only scratch the surface here. You may not use all the details but knowing them gives you the option to write the story you need to tell, without being boxed in or slowed down by ignorance.
(To Be Continued Next Week inPart 2)
WriteTip: How To Hire An Editor
The following is an excerpt from my book How To Write A Novel: The Fundamentals of Fiction, Chapter 13, slightly modified for this blog.
As a professional editor, one of the questions I hear most often from writers and others is how does one go about finding and hiring a good editor. So today’s tip addresses that challenge.
First, it’s important to know the type of editor you need. This diagram breaks down the types of editing a writer may encounter or need:
Most writers will be hiring either Developmental, Line or Copy Editors for their book. Not every editor does all of them, but some do more than one. I do all three and frequently do Developmental and Line Editing together as a package because they can be combined easily. Copy Editing is a separate pass requiring different focus and skills. Proof Readers are also quite useful, although many people find volunteers who are helpful and cost effective.
If you need to hire an editor on your own you will need to do some research. For information on standard rates, check the Editorial Freelancers Association for a list of average rates here:https://www.the-efa.org/rates/. For individual editors, they should have their rates on their website as well as a list of clients they have worked with and even quotes recommending them. For me, I’d ask some of the clients about them as well as friends to see what kind of reputation they have in the community. Then most editors usually offer a sample edit to demonstrate their skills for free (usually a page or two, maybe a chapter). Submit your work to several for samples and then compare them when you get them back. You can also reach out via social media to authors you admire asking for recommendations. Most of us have been there and will be happy to point you in the right direction toward finding a good, reliable editor—one we’ve worked with or who has worked with friends. Be sure and search bookstores and online for books in print that they’ve edited and check the quality and who published them. This kind of information tells you their level of success and skill as well as their taste, which can be important, as well as their knowledge of genres. You definitely want someone knowledgeable in the genre in which you are writing to help you navigate market expectations, tropes, and other genre-specific concerns.
Once you’ve found an editor or two you are interested in, ask for full quotes and discuss their cancellation fees, timeframe and deadlines, and how they deal with cost overruns, if any. You’ll want to be sure in advance you are not charged for extra time without permission, whether they do extra passes or just one, etc. Then choose your editor and get a contract. Make sure the contract outlines guarantees to you, not just the editor. Usually there will be clauses about payment schedules, how they deal with non- or delayed payments, etc. as well as a delivery timetable. All of this is important to have in writing to avoid conflict later, as these tend to be the areas where most misunderstandings and conflict occur between freelance editors and clients.
After that, you send them you book and get started.
I would expect a decent editor to need between three weeks and six to edit the average novel well (80,000 to 130,000 words). More if your book is longer. I would also expect them to send you regular updates on the progress and even provide the first half around the time any second payment is due, so you can get an idea of the quality of their edits, usefulness, etc. Editors work for you in this case, not a publisher, so you have total control over what you do with their edits. That’s why it’s very important to hire an editor you trust and enjoy working with, then trust their judgment enough to use their advice. Your editor’s job, whether freelance or in-house, is to help you make your book the best it can be. If you succeed, they look good, too, but most of all, you look good, because your book is your reputation, your calling card. The editor has no motivation to ruin your book with bad advice or to sabotage or hurt it. So the advice they give is always intended to help, whether it hurts your feelings or not. There is a need for your editor to be somewhat blunt—though most try to point out strengths as well as weaknesses and use a sense of humor in doing so to soften the blow—so that you get a sense of how readers will react and can really dig into the issues properly. Remember, it is not personal nor is it an attack. They are all about helping you. They are on your side. So take their comments seriously, ask questions as you have them, and try to find a way to make them work if at all possible, never dismissing them entirely out of hand.
There will be times when you disagree. Some of those will be over things that are per choice, up to you. Personal taste or preference may be a part. Good editors will admit this and explain their reason for making the editorial suggestions. These are the edits you should decide if you agree with and want to do. In other cases, edits are absolutely necessary. These usually are edits about clarity and understanding, facts, character motives, story holes, story pacing, mood, tone, emotion, etc. and should be considered very carefully and every attempt made to find a solution you can both agree on, even if it is a compromise. Remember that we all have weaknesses and strengths and the writing process is a journey. Everyone wants to best book possible and is working toward that goal, because a great book makes us all look good. Keeping that in mind should make it easier to take criticisms, even when they sting or confuse, and put you in the right mindset to trust and work with your editor as a partner, not an opponent.
Ultimately, once your book is edited, it is ready to go on to formatting, copyediting, and proofing. And those stages will involve more edits, but generally focused on repetitive words or phrases, grammar and spelling errors that slipped through, italics and underlining, house style, punctuation, etc. If the items are house style, they are nonnegotiable. Everything else can be discussed and considered, but, of course, if the grammar is wrong unintentionally or you have misspellings, you need to fix them. Accuracy matters to readers and critics. It is about professionalism and presentation.
I find the editorial process with some clients can be like pulling teeth, but with many it is pure joy. I enjoy very much watching writers gel with their material as things come into clearer focus, get stronger, and take on that sparkle they always envisioned in their minds. There’s real joy in watching a good book become great and seeing the pride the author takes in it and the success that follows. I feel very much a part of that, as well any editor, and if you find a good one, hold onto them and treasure the relationship. It is like finding gold.
WriteTip: The Dangers and Benefits of Vernacular
A recent Facebook post in a writing community I am part of got me thinking about using vernacular in fiction and writing. The post quoted from a 1987 Star Trek novel How Much For Just The Planet by John Ford which featured the following:
The poster’s comment was that this dated the fiction of a future universe by discussing video in tape format when that has now, many years before Star Trek is supposed to take place, become all but obsolete. And while this point is valid, I pointed out that the author was using vernacular in the 80s when discussing video playback commonly was referred to as tapes because that was the most common format. And authors, inevitably, are products of their time, even when writing far future stories. They struggle for balance between their imagined futures and worldbuilding concerns and communicating familiarly with readers in order to connect with them. This is where the use of Vernacular can be helpful at times. As we see from the example, however, it can also be limiting.
Now just to be clear we’re all talking about the same thing, the Oxford Dictionary online defines Vernacular as follows:
Language and dialect uses common terms that develop out of every day usage to promote unity and provide common reference and aid the sense of unity and community. Referring to video playback as tapes can be considered one of those. And for about twenty years, that vernacular was a broad common frame of reference for a great many people. The problem is that in the 2000s, tapes became almost obsolete. At first they merely stood alongside CDs and DVDs, but now they have been replaced by them entirely. With rare exceptions. Now, there was no way for John Ford to know this would happen, and the Star Trek TV series did have referring to playback of tapes as part of its worldbuilding because the TV writers didn’t anticipate it either, so in a sense he was writing within canon and established boundaries. But is that really an excuse? Shouldn’t he have anticipated the possibility that term would become outdated and avoided it just to be safe? Such was the argument of the person posting the example on Facebook, the problem I see is that in practical reality that creates close to impossible expectations for writers.
The fact remains that whatever you write, whenever you write it, you will always be a product of your time and so will your work. Anyone who wants to dig deep will be able to find from future perspective holes that date your material. It may be just an antiquated turn of phrase or, a word or two, or it may be something more glaring like technology that is outdated, but regardless, there’s virtually no way to make you work bulletproof from this occurring. You can make it hard for them, sure. There are many examples of older works that hold up so well they continue to amaze modern readers. But many more examples exist of older works that show their age with time. And the thing is there’s nothing wrong with that. I think it’s a mistake to be dismissive of something just because of small errors in anticipating future changes like this or modifications to vernacular. It doesn’t make vernacular any less useful a tool for communicating and connecting with readers. And it certainly doesn’t make the story any less powerful or effective unless you are so petty as to allow such minor glitches to do that.
My feeling is that none of this should make one avoid use of vernacular in writing stories, but it should inform it. But not more than it informs any other aspect of worldbuilding when it comes to futurism. Keeping material as non-dated as possible for future readers should almost always be given consideration when setting stories in the future, the only exceptions being perhaps stories that are particularly tied to historical events or specific dates in some way, thus requiring direct reflection of those periods. But this consideration should never be paralyzing for the writer. Doing your best to keep the story relevant and avoid it being dated by future generations is noble but not if it keeps you from writing well or telling the story you feel inspired to tell. In the end, no one can anticipate everything, because no one has the ability to accurately predict every aspect of the future down to language, vernacular, technology, and beyond. Even if you guess, you could get it wrong. And using future trends research can only take you so far as accuracy goes as well. When it comes down to it, you can only do what you can do and let the chips fall where they may, and that’s perfectly okay. As long as you do your best. No one can ask more of you, and you shouldn’t ask more of yourself.
For what it’s worth…
Has Goodreads Outlived Its Usefulness For Authors?
I will admit that when I first heard of Goodreads,I liked the concept, and Goodreads has done a really good job on their database and interface, so much so that their nearest competitor, LibraryThing, which has some advantages and better features, is still far behind in popularity. Purportedly meant as an app to bring readers and authors together, most authors I know use it more as a reading research and library tracker than for any meaningful interaction with fans. There have been exceptions, Michael Sullivan being notable among them (though I haven’t taken time or effort to verify his claims of successes there to be fair). But I can count on one hand the number of authors I know who have told me of meaningful interaction there with fans. In part this is due to the trolling nature of Goodreads readers who can be quite cruel in their bluntness and shortsighted in the insight their reviews provide. After a few such experiences, most authors just stop reading the reviews and develop a distaste for interacting with those types of people, even if they do luck into positive reviews from them. Most of us instead used Goodreads to track our reading, generally gauge reader responses, and as a resource for giveaways to fans. But Goodreads did even the playing field by providing a way for indie authors and small presses to get their books more prominently noticed by a larger readership, and that in and of itself was a huge benefit and blessing to many of us. And made time invested in Goodreads more than worth the effort. The promise was more reviews, although in my experience, I garnered a very small boost in reviews from the giveaways I did.
Then Amazon bought Goodreads and all of a sudden they started charging a few hundred dollars for giveaways, immediately making giveaways unaffordable for most indies and small presses while favoring the big names who already get all the advantages. One of the nice things about Goodreads giveaways being free was it allowed indies and small presses to play equally alongside the big boys at attracting reader attention. That is no longer the case with the new policy. But other developments with Amazon’s arrival have been even more insidious. Torrent links began showing up more and more in comments and as actual groups and getting them removed became a major ordeal requiring many emails and DCMA notices as well as much frustration of the authors or presses involved.
And now it appears, Goodreads allows authors to create fake profiles in the name of other authors to troll authors the creators disapprove of with really nasty reviews. I can tell you that it is always perilous as an author to review peers. As such, I learned long ago not to post any review that was below three stars publicly. So if you ever see a review below three stars bearing my name on a book, it is fake. But not everyone cares about relations with their peers as I do, and with this current rise of trolling fakes, the problem is exploding by leaps and bounds. Goodreads will remove fake accounts if you can make a good case proving they are fake and get enough people to join you in complaining, but it is not easy and in many cases, the damage may have already been done. Unless something has changed, just because accounts are removed, doesn’t mean all their reviews disappear. Many times I encountered them listed under labels such as “Inactive Account” or other such monikers. Someone has to actually undertake cleanup behind the scenes which requires effort and time, something Goodreads is stingy with when it comes to assigning employees, in my experience and that of many others I have talked to.
So I have to say I am questioning the usefulness of Goodreads to authors more and more. Is this really the type of site and community we want to invest our time and energy into? Especially when it is seems to become more anti-author or at least non-author friendly by the day? I am curious what other authors use Goodreads for besides the uses I mentioned. What experiences have you had? Is it worth the hassle or do you just use it as I do—a glorified reading database—and ignore the rest? Is this something you actually find useful to invest time in or would finding an alternative be desirable? If LibraryThing overhauled and improved their interface enough would you be more active there or just switch loyalties altogether?
Look forward to people’s thoughts on this. I think Goodreads has outlived its usefulness but I am curious if others have reached the same conclusion. For what it’s worth…
[NOTE: Comments are moderated and only constructive, non-trolling responses will be allowed. The rest will be summarily denied and deleted. This is meant to provoke meaningful, helpful discussion, not an online flame war.]
WriteTips Hiatus Til 2020
Sometimes you just need a break, and that’s me. Been blogging twice a week minimum since July, and happy to be back serving the writerly community but I need a break this holiday season to focus on other things, so putting WriteTips on break this month. Will be back in January with more. I will post every Monday and maybe a few posts at other times, but for now, thanks for being here to read. And I wish you a joyous, blessed holiday season.
Identity Theft and Me: How I was Victimized But Precautions Saved Me and Can Save You
Well, folks, apparently credit bureaus can and have been hacked, and apparently having your phone number, name, and address—all of which are public for me thanks to various reasons (though I have taken steps to correct that this past week)—is enough to steal identity. The thieves that struck me over Thanksgiving, which I discovered last Wednesday and sidelined me for the rest of the week dealing with (hence missing Wed. Post here), were able to apply for 6 cell phones in my name with Verizon and AT&T. Fortunately, they screwed up playing me enough that the accounts were held for verification and I was able to stop them before anyone got any phones or any permanent damage was done, but I have to wait 45 days for my credit to be cleaned up. And I also lost some money to the same people, who I paid for what I thought were legit goods and services but were not. Because I am careful, and it was through PayPal—through which I run my whole business and thus am a valued, heavy user—I will get most of it back within 90 days but it certainly was a wakeup call.
Why do I tell you all this? I tell it to you because it is a new day and age for security and risk online. It has been an issue for a while, but as credit card companies and merchant servicers have decided, in infinite stupidity, not wisdom, to ease some restraints, the public is more at risk. The fact is it is easier than ever to be a victim online of scammers and thieves. No precautions guarantee safety, but here’s eight that can really cut your chances and your liabilities.
Some precautions. First, save all your passwords into a fingerprint ID system. I use iPad, but there are options for cell phones of most brands now too. If the password never shows up written out or typed but can be accessed only by a finger print, it is much harder to hack.
Second, do business with strangers using a prepaid credit card. You have to put money on the card to spend it, and only put on there what you need for that transaction. Sure, you might lose a little money but you can dispose of and replace the prepaid card and limit your loss.
Third, use a secure system like PayPal that guarantees your purchases so if you get taken, you can file claims to get it back. Yes, it takes 90 days but it’s a guarantee most banks won’t give you.
Four, clean up your credit report and do a deep search on your names, phone numbers, addresses, and emails and send letters instructing the various sites you find in results to remove your private info. Clean up the web so that people cannot get access to the data they need to steal your identity. All will do so if asked but you have to read their Terms and follow their process. Is it time consuming, yes, but not as time consuming as being robbed or having identity stolen and then trying to recover.
Five, Google Phone. Get a google phone number and never give out your cell or home number. You can call using the Google Voice app for free and text too, and people will not be able to contact you in ways linked to credit cards or personal info they can hack and use to steal from you. For those of you doing online dating, this is especially vital as those sites are rife with fakes and scammers trolling for data to rob you.
Six, be careful of using video chat. It can be used to hack your iPad or computer and steal data and info. Someone tried to do it to me but all they got was a few names of family and a few of people I never heard of that self-populated here. Because I keep my iPad, which I now use as my primary online access and daily workhorse, clean of such data and well protected just to prevent such crap.
Seven, don’t trust anyone you don’t know well, especially if you have never met in person. Phone calls can be faked. Video chats can be too, and see point Six for the dangers of those. Face to face cannot. Catfishing is a reality, people posing as someone else then showing up thinking they are charming enough or have made enough emotional connect you will let it slide. If someone lied once about who they are, they will do it again. Never trust them a second time.
Eight, if you have any doubt, believe it. Trust your gut. If it feels like a scam, assume it is. Probably you are right and it is not worth the risk.
I hope these lessons help some of you avoid the pain in the ass I went through last week. They certainly kept me from losing more than a couple hundred bucks and a bunch of time, and as identity theft goes, those are really good numbers. I was lucky. And I will be even more careful in the future.
For what it’s worth…