Author Spotlight: Cidney Swanson

***Originally posted on The Bearded Scribe on June 13th, 2012.***

Author Spotlight: Cidney Swanson

HELLO Beardies,

A few weeks ago, Elizabeth emailed me with the name of an author whom she knew through her work at the library. Without knowing it, Elizabeth had already corresponded with the author to see if she would be open to an interview for the blog… to which the author graciously agreed.

In conjunction with this upcoming Author Spotlight, Elizabeth wrote a wonderful review of The Ripple Trilogy, authored by our guest today, Cidney Swanson. (For those of you who do not remember Elizabeth’s Book Spotlight on The Ripple Trilogy, please check it out as soon as you get a chance.)

ABOUT CIDNEY

(Biography taken from Cidney‘s Author Page on Amazon and originally provided by Cidney or a representative.)

CIDNEY SWANSON grew up within spitting distance of the central California foothills and learned to drive on the crazy highways linking gold rush ghost towns. She began her first novel at age eight; it started with “Ouch,” and she’s enjoyed creating painful situations for her characters ever since. Cidney worked as a costume designer, clothing designer, and kitchen gadget salesperson prior to giving it all up for literature. Cidney lives in Oregon’s Willamette Valley with her husband, three kids, a dog and two cats, and entirely too much rain.

THE INTERVIEW

Joshua A. Mercier: You have two blogs—your personal blog and one titled The Writer’s Voice—could you tell the readers at The Bearded Scribe a little more about each of them?

Cidney Swanson: I’m a contributor over at The Writer’s Voice, a blog where several young adult authors post. On my own blog, I tend to write a couple of posts a month on something that moves me. Wow. That sounded vague. Here’s another try: when I find myself getting shivers from an experience that has to do with reading or writing, I usually end up blogging about it.

Joshua A. Mercier: Would you consider writing a guest post on The Bearded Scribe at some point?

Cidney Swanson: Of course! In addition, you can always request to re-post an earlier post of mine if you think your readers would find it interesting.

Joshua A. Mercier: At what age did you begin writing?

Cidney Swanson: I began writing fiction as soon as I learned to write words, right around age seven. I have no idea why. No one in particular encouraged it, but I loved reading and I’m guessing that inspired me.

Joshua A. Mercier: What is your favorite book? Your favorite fantasy/speculative fiction book?

Cidney Swanson: Really? Favorite, like, favorite??? I’m totally cheating and answering with more than one title. *grins evilly*

If I could only have one book for the rest of my life, I would pick Lord of the Rings. My favorite books that I’ve read more recently would be Laini Taylor’s Daughter of Smoke and Bone and Maggie Stiefvater’s The Scorpio Races.

Joshua A. Mercier: For me, it was Bridge to Terabithia… was there a particular book that hooked you into the fantasy genre?

Cidney Swanson: It was actually Star Trek (the original series) that hooked me into speculative fiction. I read science fiction looking for something similar, but I was often disappointed. Interestingly, when I discovered The Chronicles of Narnia and the Lord of the Rings within twelve months of each other, it felt like “coming home” for me. Those books converted me into a fantasy reader.

Joshua A. Mercier: It’s funny that you mention The Chronicles of Narnia, actually. It was what made me realize that there were other great fantasies out there. Shortly after reading Bridge to Terabithia, a professional acting group visited my elementary school and performed a dramatic adaptation of The Lion, the Witch, and the Wardrobe. After that, I think I was not only hooked, but also the subconscious decision to become a writer had manifested in my head, even at that young of an age.

Do you only write in the fantasy genre?

Cidney Swanson: So far, all of the novels I have completed have had fantastical elements to them. I enjoy reading contemporary young adult fiction, but I don’t seem to be driven to write it myself. Unless there is something speculative involved in the writing, I don’t tend to stick with it. That probably won’t change any time soon, given the number of books clamoring (from inside my brain) to be written.

Joshua A. Mercier: As an aspiring fantasy author trying to shop his first manuscript, could you tell me how many agents you sent query letters to before you received a “yes” from one of them? Also, how long did the process take?

Cidney Swanson: I am currently un-agented and self-published. But I was looking for an agent once upon a time. Here’s how my process went: I chose two dozen agents that I thought I might work well with. I only received a handful of outright rejections. Most said, “What else have you got?” or “It’s good, but I think this would be tough to market.” That process took about two years. Meanwhile, I wanted to quit my day job and write full time. So, I set aside querying in favor of publishing The Ripple Trilogy myself. That was one year ago. I’m making a living as a writer at this time.

I certainly wouldn’t be in this position if I had continued to query without taking a break to polish and publish. I’ve owned a couple of businesses, so I looked at this very much from a business standpoint asking: how can I achieve my goal of writing for a living? Self-publishing was a very good option for meeting that goal. Now I am about to jump back on the query-go-round with a couple of new manuscripts in hand.

The main problem with the query process is that it moves at the pace of a banana slug. On a very hot day. On an abrasive surface. Agents are under tremendous pressures now with the flux in the publishing industry. Their first responsibility must be to existing clients. They read queries and manuscripts in their free time! (Meaning, when the rest of us would be sipping sweet tea or going to the movies.)

The query process is a very lengthy one made even longer by the fact that it is accomplished during someone’s “non-work” hours. I’d say it is typical to get a first response after 3-6 months. If an agent asks for a couple of chapters, you’ll probably hear back on those in 2-4 months. If they ask for a complete manuscript, allow another month or two. They may request revisions before deciding. This should take you a couple of months. Then they will need a couple of months to get back to you. Are you starting to see a pattern? We’re well over 15 months at this point from when you first sent something off. Of course, everyone’s journey is different, but 15 months before a final answer is probably fairly typical. Unless it is a no, in which case, only 3-6 months would be normal.

Joshua A. Mercier: What was your inspiration for The Ripple Trilogy?

Cidney Swanson: I had an image in my mind of a teen girl sitting beside the Merced River (by Yosemite.) As I “gazed” at her, she disappeared. She didn’t notice she had turned invisible. I had to know why (1) she turned invisible and (2) she didn’t even notice it had happened.

I mean, wouldn’t you notice if you turned invisible?

Joshua A. Mercier: I would like to think that I would notice, but who’s to say for sure. Then again, we all feel a bit invisible at times, don’t we?

Have you received any optioning rights for film adaptations for the Trilogy?

Cidney Swanson: No. But whenever my daughter asks for an iPhone or other expensive item, I tell her, “Okay, as soon as I get my movie optioned.”

Joshua A. Mercier: Are you currently working on any new projects?

Cidney Swanson: Yes. Several. (How coy of me!) But seriously, I have a sci-fi trilogy and a stand-alone about ballet and goblins. I have a couple of other things in the works as well, but they don’t have complete first drafts yet.

Joshua A. Mercier: Elizabeth just did a Book Spotlight on The Ripple Trilogy and she focuses on the techniques (or gems) that other writers can take away from reading the specific titles she reviews. Are there any other tips or techniques you would like to share with The Bearded Scribe‘s readers—especially fellow writers—which they can use in their own writings?

Cidney Swanson: Read, read, read. Put sticky-note flags next to sentences or paragraphs that move you as you are reading. Later, go back and analyze what the writer did. Do exercises where you try to recreate that in your own style. I did an MFA many years ago where my art profs had me copy the masters in drawing and painting. I think writers can do the same thing to great benefit.

Joshua A. Mercier: Could you describe your writing process for the readers of The Bearded Scribe?

Cidney Swanson: Sure! I write six days a week, in the mornings when my inner editor is groggy. That way the creative stuff is flowing pretty well. When I approach a new project, I will generally create a loose outline with a very definite “this is what happens at the end” in mind. I find that I need to know which direction I am driving, as it were.

I write out my first drafts at a pace of right around 2,000 words/day. Sometimes I’ll hit a 4,000- to 5,000-word day, and those are great, but many days I struggle to get those 2,000 out. I write anyway. Even when it feels like pulling teeth. I’ve found the muse only shows up if I do.

After I’ve completed a first draft, I set it aside for one to two weeks. Then I clean it up a bit and let my editor have a look. My editor does a “big picture” pass over it, suggesting where I need to pick up the pace or describe things more clearly. This is more of the “story development editing” that you may have heard of.

Afterwards, I go into a revisions phase where I am still focused on the big picture: what scenes need to go buh-byes, what additional scenes I need to write. Then I set it aside for another two weeks or so and look it over again, cleaning up obvious errors. If I am still feeling uncertain about the overall story arc, I may ask that same editor to look it over again.

Once I have a storyline that feels nice and solid, I get to do my two favorite passes through the manuscript! I do one pass looking at each page as a separate unit in completely random order. When I read the single page, I am looking for one bright sparkling bit of something: a moving description or something humorous or a really lovely metaphor or a sentence that I could just dive into and live off for the next six months. Well, those are my goals, anyway. If the page doesn’t have any of the above, I work it and tweak it, asking myself where it needs something really yummy, where that bright bit might fit in. Ah. There. I feel happier just talking about that process.

Lastly, I do a line edit searching for word repetition, misspellings, weak verbs, any adverbs I can get rid of, and so on. That is also deeply fun, for me. After this, it goes to a line editor, and after I fix the line edits, it goes to a copy editor.

You’ll notice I have several weeks of “down-time” when a manuscript is either out of my hands or when I choose not to look at it so that I can come back to it with fresher eyes. During these periods, I work on another manuscript.

Joshua A. Mercier: Wow! Thank you for that! I am sure my readers are going to love that you were so detailed when describing your process!

Is there anything else that you would like to share with The Bearded Scribe‘s readers that I did not ask you?

Cidney Swanson: Um. Hmm. If you haven’t read Laini Taylor’s Daughter of Smoke and Bone, you should totally run to your library or bookseller and get a copy. Did I mention that I loved that book? Oh. I already said that?

Seriously, though, thanks so much for spending some time with me. I feel so fortunate to be doing what I love for a living, and that wouldn’t be possible without readers. ¡Gracias!

CONCLUSION

THANK YOU, Cidney, for taking the time out of your busy schedule to sit down and share your answers with me and the readers of The Bearded Scribe. It has been a pleasure conversing with you over the past few weeks, and yours is a talent that deserves spotlighting.

MORE ABOUT CIDNEY

FOR more information about Cidney, or to read her delightful musings, you can visit her website. You can also follow her on any of the following social media links:

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TO purchase any of The Ripple Trilogy titles, simply choose your desired format from the dropdown menus and hit “PURCHASE” button to be redirected. We promise that you won’t regret the purchase!

UPDATE: Since the original posting on the inaugural site, there have been FOUR additional books released within the series: Visible, Immutable, Knavery, and Perilous.

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World Building Series: Language Construction—Part 1

***Originally posted on The Bearded Scribe on March 30, 2012; post has been edited and updated.

World Building Series: Language Construction—Part 1

HELLO, Beardies!

I decided to do yet another post within my World Building Series, this time focusing on language construction. Being a lover of language, especially in Fantasy, I believe this is one of the many elements that sets the genre apart from the rest.

I mean… How exciting is it to open up a new book and find a glossary?!? I love the challenge and the ‘secret’ invitation to get inside the head of the author. How the author forms the language, how it is used by the characters, and how the author incorporates it into the book are all things that make for a stimulating read. At least for me.

I spent years trying to perfect my first language. At first I got in my own way. I was just creating words—with truly no fluidity or method of organization. I even complicated things by trying to incorporate too much complexity into the language. I was my own worse enemy.

I finally had a breakthrough when I realized I needed to simplify. A lot. It was overhaul time, but where to begin? Sure, the words I created were wicked neat (as we say in New England) and evocative of their true meanings, but there was no cohesiveness to their styles or potential etymology. I almost scrapped it completely, but I ran across something that changed my outlook on Tolkien’s genius and fantasy languages altogether.

One chilly winter’s afternoon, I took a sojourn to Lansing, Michigan and my path led me to a newly-finished, outdoor mall. I can’t recall if I went there specifically or happened to stumble upon it, but at any rate, they had one of the largest bookstores I had ever seen (I’ve seen much larger ones since, but this was a great find for us at the time). While browsing the shelves, my eyes were drawn to the bright red binding and the title of the book pictured below: The Languages of Tolkien’s Middle-earth by Ruth S. Noel.

THE image is perhaps too small to read the block of text under the title, so I will oblige all of you with a transcription: A complete guide to all fourteen of the languages Tolkien invented.

Yes. You read it correctly. Fourteen! I figured if it gives me even the slightest inclination as to how he did it with fourteen, then surely I should be able to create at least one!

I read that thing from cover to cover. Twice.

And then I re-read it with a journal and pen to take notes on all the helpful information it contained. It is in no way a reference guide to how Tolkien did it, but it contained enough clues for me to discern a pattern and methodology. And with my journal now full of notes, hints, and questions for me to ask myself about my own language, I decided to jump in head first.

I also discovered something important. Tolkien didn’t create his languages from scratch, he had a little help. I am not saying that Tolkien wasn’t a genius because he didn’t create his language from scratch—because he absolutely was one; I am saying that perhaps the fact that he decided to use an existing language for guidance proved his very genius. Why not borrow parts of a language that already has all of the ‘kinks’ worked out? It made perfect sense to me, so that’s what I decided to do.

As Tolkien based his language upon Finnish (whether it was just one—or perhaps all fourteen—I am not certain), I, too, decided to structure [at least parts of] my language on an existing one…. well, many, actually. Parts of my language are derived from Gaelic, parts from French, parts from Latin, parts from Finnish, parts from Hebrew (the list actually goes on, but I will spare you from its entirety).

Also, like Tolkien, I decided to use combination forms of words so that I could create better-formed proper nouns—names of characters and places and important things.

This post is getting rather long, so I will end it and continue where I left off in a future post. Keep your eye out for it! 🙂

Since this post was first published in 2012, I've actually dissected my languages and have decided to simplify even more, so I removed the section of this post that contained the older language references.

Stay tuned for the next post in this series,

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Joshua A. Mercier

World Building Questions: The Rules of Majick

***Originally posted on The Bearded Scribe on March 24, 2012.

World Building Questions: The Rules of Majick

WORLD BUILDING QUESTIONS:

  • Where does majick come from: divine source, a tangible energy or resource, the personal will-power of the caster, et cetera?
  • Is the source exhaustible?
  • How does a caster tap into majickal energy?
  • Does it require some rite of passage (investing one’s own energy or lifeforce into an object; divine selection or selection of some other kind; specific knowledge/education; creating, being given, or inheriting a permanent connection to the source/energy; successfully summoning a demon/angel/spirit/divine being/et cetera)? —OR— Does it just happen naturally because of study or as a part of growing up?
  • What things can majick do? What can it not do? (i.e., what, if any, are the limitations?)
  • How much is known about the laws of majick? How much of what is “known” is wrong?
  • What does one need to do to cast a spell (an elaborate ritual, recite spell/poetry, combining the correct ingredients)?
  • Are there objects like a staff, a wand, a familiar, or a crystal ball that are necessary or useful to have before casting spells?
  • If so, where and how does obtain these objects?
  • Can any wand be used by any wizard or are they wizard-specific?
  • How long does it take to cast a spell? Can the spells be stored for later, instant use? Do spells take lots of long ritual, or is majick a “point and shoot” kind of thing?
  • Can two or more wizards combine their power to cast a stronger spell, or is majick done only by individuals? What makes one wizard more powerful than another—knowledge of more spells, ability to handle greater quantities of energy, having a more powerful divine being as a patron, etc.?
  • Does practicing majick have any detrimental effects on the wizard (such as being addictive, crippling/injuring, slowly driving the wizard insane, or shortening the wizard’s life-span)?
  • If so, is there any way to prevent these effects? Are the effects inevitable in all wizards, or do they affect only those with some sort of predisposition? Do the effects progress at the same rate in everyone?
  • What general varieties of majick are practiced (e.g., herbal potions, ritual majick, alchemical majick, demonology, necromancy, etc.)? Do any work better than others, or does only one variety actually work?
  • Are certain kinds of majick practiced solely or chiefly by one sex or another? By one race or culture or another?
  • Does a wizard’s majickal ability or power change over time—e.g., growing stronger or weaker during puberty, or with increasing age? Can a wizard deplete all of his/her majick, thus ceasing to be a wizard?
  • Can the ability to do majick be lost? If so, how—overdoing it, majickal attack, depletion, et cetera?
  • Can the ability to do majick be forcibly taken away? If so, how and by whom?
  • What is the price wizards pay in order to be wizards—years of study, permanent celibacy, using up bits of their life or memory with each spell, a personal sacrifice (killing a family member—perhaps to absorb their majickal energy), a required daily or periodic sacrifice (say, to a demon), sacrifice/loss/depletion of beauty/looks, et cetera?

World Building Series: The Rules of Majick

***Originally posted on The Bearded Scribe on March 24, 2012.

World Building Series: The Rules of Majick

HELLO Again Everyone,

Welcome to the third installment of my World Building Series of posts—The Rules of Majick. There have been many fantasy books out there that include their own majickal system—rules, principles, limitations, et cetera—that govern the usage of majick and its consequences… and each with unique answers to specific questions their authors were forced to ask in order to set the basic building blocks for the systems.

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SOME books that come to mind, just to name a few, are J.K. Rowling‘s Harry Potter series (of course), Larry Niven‘s Warlock series, and Ursula K. Le Guin‘s Earthsea series. In the first and third series, the majick is driven by language: Harry Potter by a Latinesque (if only that were a real word) language–specific words spoken to evoke specific purpose (Rowling also requires the use of a wand or staff in order to produce the spells); and in Earthsea, Le Guin uses the concept of an original, primordial language by which the creators of the world originally named things. People who learn these names are able to control the things named, an ability shared by both the wizards who study the language, and the dragons whose native tongue it is. And in the second series mentioned above, the majick is derived from mana–an exhaustible resource in the environment surrounding the caster which can be depleted.

In creating the majickal system for my first series, The Chronicles of Aesiranyn, I asked myself question after question in order to narrow down how my characters would use and manipulate majick and also what the results and consequences of that usage would be. Like Rowling and Le Guin, I decided to use language (perhaps for the mere fact that I am a self-confessed linguaphile). I also, like Rowling, decided to require a wand or staff in order to produce a spell (more on that later), and like in Earthsea, the spells are derived from an Ancient (even protected) language that must be learned in order to produce the proper spells. There are limitations (as there should be), though if the character is a member of the Imperial family, then their limitations are less–and even more so if they are the ruler because their majick is derived from the throne upon which they [figuratively] sit.

My majick system is simple, yet it is complex in all of its different parts. It is elemental majick, of sorts, and it is also broken down into general color categories and then more specific types within the category. As I mentioned before, the majick in Aesiranyn requires a wand or staff, which is crafted by a wandmaker. The intended recipient of the wand/staff must make a blood sacrifice, and then the majick within his/her blood chooses elements, which also hold their own majickal properties. Aside from wands being required, there are other specific spells as well that require other majickal artifacts in order for them to work. I’ve probably given away too much… but hopefully it was a teaser for the future readers of the books!

ABOVE is a link to the list of questions I asked myself (a page that will remain a permanent resource on this blog), which I am offering to all of you in your own quests for the ever-illusive realm of majick. The greatest advantage a writer can have is to know their own world inside and out (without overbuilding, of course), and in order to do that, they must constantly ask questions before beginning to write their stories–and just as importantly, while they are writing it!

Good Luck in this and all of your questions,

Picture of Joshua A. Mercier

Joshua A. Mercier

World Building Series: Overbuilding

***Originally posted on The Bearded Scribe on March 20, 2012.

World Building Series: Overbuilding

WELCOME BACK, Beardies!

Here is the second installment of my World Building Series of blog posts, as promised, which has to do with the dreaded dilemma of OVERBUILDING.

Overbuilding can cause serious procrastination for a writer, and I can attest that I am perhaps the worst culprit of this—or at least I used to be. Attempting to perfect my languages was the biggest distraction for me, and in doing so, I never actually got much writing done.

I had created three separate languages for my first series (a separate languages for two of my races, and an Ancient dialect used for majick), and I was never completely happy with the first two of them. I kept going back to ‘tweak’ the languages, at first trying to make what I already had work, and then trying to reconstruct them altogether. But it was when I finally decided to simplify that I chose to scrap the weaker parts of both, combining the stronger parts of each and forming a universal language for the world instead of separate ones for the two races. Honestly, a lot of this was decided when I realized that I needed more than two races in my series, which meant possibly creating a separate language for each; and just like that I realized how daunting the task at hand would be and opted to create a unifying language for all the races. It seems like an easy way out–but I had to ask myself the important question: how much of each language would honestly go into the various books in the series? Which meant also asking: shouldn’t I be spending more time on the actual plot?

I can tell you from experience: just as there are flaws in the world we live in, the world you create for your story will never be perfect or to your liking until you actually write the plot. Writing the plot irons out the flaws and answers the questions that are left unanswered while you are in the initial building stages.

Or maybe there are not flaws, per se, but minor issues that arise while writing. For instance: whereas I was happy with my Ancient dialect used for the majickal system in the series, I realized while writing one of the chapters (where the majick system is the most prevalent), that I actually need to ‘tweak’ and define the language a little further to fit the rules and limitations of the majick. This type of building where you build it once it’s needed—as opposed to overbuilding and never using some of the material in the actual writing—is highly encouraged. I feel the choice made my majick system more believable and understandable (not only to my readers, but to me as well).

Stay tuned for the next post in this series,

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Joshua A. Mercier

World Building Series: Introduction and Fundamentals

***Originally posted on The Bearded Scribe on February 29, 2012.

World Building Series: Introduction and Fundamentals

GREETINGS Beardies!

While writing on my current project, Valkyrie, the other day, an idea for a post started to formulate in my mind.

World Building.

FANTASY and Speculative Fiction or not, every book (and movie/screenplay) has it. Even non-fiction has a bit of world building involved. An author must know the limits and facts about the world in which he/she is writing before he/she can construct a believable, fully-formed story. If an author’s facts have inconsistencies or flaws, he/she can discredit his/her knowledge of the craft, and by doing so, quickly lose readership. Simply put: if you don’t know the world in which your story takes place, how are you supposed to describe it to your readers in its fullest capacity?

I have been pondering at how to go about writing on such an extensive topic–or even how to begin doing so, for that matter. After much deliberation, I decided that breaking it down into several posts would be the most practical option, not only for my personal choice to put constraints on post lengths, but also to get more detailed and concise, content-related posts for you, my readers.

This first post will focus on the initial steps to world building, intertwined with my own anecdotes of trial & error with my own writing, and will also introduce the next post in this specific series.

BEFORE I ever knew what world building was, I was unknowingly creating my own worlds. After reading books like The Egypt Game, The Bridge to Terabithia, The Chronicles of Narnia and The Lord of the Rings, I became obsessed with creating worlds of my very own. I sketched maps galore, created languages (minor undertakings back then), secret codices with which I could write notes to my friends, and planned out entire cities in which to create my stories.

Of course, those worlds failed me; more correctly, I failed them because I didn’t know enough about my creations. Sometimes I would sketch pages and pages of maps with great detail, but I neglected to populate it with creatures and characters that were believable for the setting. Sometimes, vice versa. Other times, I forgot to ask myself important questions whose answers would have provided me with a connection between the different aspects of my worlds. I constantly wrote myself into corners—or worse, circles. My writing was all jumbled—mismatched additions, not all too dissimilar from the Winchester House—without any coherence whatsoever. I neglected to make the full blueprint before building the house; but fortunately, with training and practice, I realized the errors and remedied them.

The Winchester House - Santa Clara Valley, California

MOST ideas for stories usually develop long before a writer even thinks about world building. Unfortunately, I feel that this leads to weaker stories in the end. I am saying this from experience because the first few starts at my now-finished manuscript were torturous. My characters and my world felt disconnected and, to be honest, a bit contrived. In my opinion, it is much easier to build believable characters inside of a defined world than to a build a foreign world around a cluster of characters.

Asking yourself fundamental questions will help guide you in creating the blueprint; and creating a basic blueprint for your world before you go any further will save you a lot of headache.

THE first set of questions we will discuss have to do with Earth settings and their variations/possibilities:

  • If this story takes place on Earth, does it occur in the Past?
  • Present?
  • Future?
  • Some alternate version/history of Earth? [for instance, an Earth that has been decimated by a nuclear war or asteroid? A post WWII Earth in which Hitler had won?]

EACH answer should and will produce more questions for you to consider, and each answer will also narrow down the genre/category of your manuscript. Let’s take our two examples from above, starting first with a post-asteroid collision.

  • When, where, and how did the collision happen?
  • How did it change the landscape/structure/rotation/orbit/population/technology of the Earth?
  • Were there any alien life forms or microbes on the asteroid?Or maybe some advanced technology?
  • If yes, how did that change the landscape, environment, or population? Did it change the genetic makeup of humans/animals/plants? On the negative side, did it bring disease or famine? On the positive side, did the asteroid’s introduction create a superior human/animal/plant?

AS you can see, each answer spawns a whole set of additional questions, which then defines the conflicts and plots. Placing characters within this constructed world is now a breeze.

The questions for our second example might look a little like this…

  • How had Hitler and the Axis forces defeated the Allied?
  • Did Hitler continue his mass genocide? And if so, how has this affected the population of Earth? Did Hitler succeed in creating an Aryan race? Does everyone speak German?
  • How long after the defeat does the story take place? Within Hitler’s lifetime? Twenty years later?
  • Are there secret Allied forces still hiding out from the Nazi Regime? Are they physically hiding out (in, say, underground caves) or pretending to blend in with society while maintaining their Allied lifestyles in secret? Are there plans to overthrow the government?

LITERALLY dozens of scenarios with an exponential amount of questions can arise from the first 4 questions above, and that is only dealing with Earth or Alternate Earth settings and plots. The second part of this post will deal with all other settings.

    • If the story does not take place on Earth [or any variation], is the setting a known one (i.e., Mars, the Moon, or the Andromeda Galaxy) or some distant or unknown planet/moon/galaxy? Is it even part of our known universe?
    • If unknown setting, how was the setting formed? Evolutionary (like the Big Bang Theory)? Or Mythologically (created by omnipotent beings)? Or a combination of the two?
    • How does the setting differ from Earth? How is it similar? Landscape/flora/fauna differences and similarities? Does it still have earthly forces (like gravity)? Does it have unearthly forces, i.e., majick (more on this later)?
    • Is it populated by more than one race/species? Are they humanoid? Are all of them intelligent?
    • Are there areas with concentrations of certain races, or do all the races live together?
    • If there is majick, where is it derived from (sun, moon, water, earth, air, blood, artifacts, etc)? Are all the races majickal? Only a few? One?
    • Are the majickal races exalted or suppressed? Is a majickal race the ruling race? Does it view the other races as unequal because of its lack of majick? Or vice versa?

The questions are endless, and so are the answers. And each answer lends itself to a different aspect of your world–from character races, history, politics (power struggles, classes), mythology (creation myths, deity current involvement and interaction), languages (spoken, written, ancient), majick (source, limitations, how it’s produced and used), et cetera.

The list is infinite, and I know I barely touched the surface when it comes to introducing World Building, which kind of brings me to introducing the topic of the next series in this post: Overdoing it!

Stay tuned for the next post in this series,

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Joshua A. Mercier