As a worldbuilder, your world is a vast, interlinked creation, it stands there whirling in your head or your codebase or your notes. However few people want to hear the story of your world, they want to hear the story of people in it. Indeed there’s a chance your world came about out of a desire to tell a character’s story.
Either way, at some point, you have to tell a tale about what’s going on. A tale requires someone or someones to tell the tale about. In short, no matter your goals in making the world, you have to settle down and tell the stories in it.
This means a main character or characters. It may seem odd to discuss this since so many of us have our main characters in mind, but it’s not as simple as it may seem. I wanted to return to some of my previous discussion and go over main characters.
What Is A Main Character or Characters?
As I’ve stated earlier, a main characters are like lenses on a world. It is through them that people experience your setting, including the characters themselves. The viewpoints of these characters are gateways to understanding what’s going on and experiencing it.
I find this perspective very helpful because:
- It makes you immediately think of a focus for your storytelling, gamebuilding, etc.
- It gives you someone you and your audience can relate to and helps you (and them) develop empathy and connection. This is necessary to experience the story and the world.
- It helps you do even more worldbuilding by climbing inside someone’s head and seeing how things look. You don’t just walk a mile in someone’s shoes, you walk that mile in their mind.
- It helps you admit you can’t write or tell everything.
Now who is your main character? Well, that may be more challenging than you think.
Zooming In
As noted, the truth of a lot of writing is that many games, tales, and so on are created with a given main character or characters in mind. People already have their characters chosen, and some fleshed out, and the world is created to let their stories come to life. The worldbuilding may go far beyond them and make their stories only one of many to be told (which I think should be the case), but it often starts with them.
Of course you may think you know your main characters since you started with them – but this isn’t always the case. As you build your setting, there may be better choices. Your hero’s tale may not be as interesting as her sidekick, the villain’s perspective turns out to be heroicc, and that throawaway character is actually more relatable. A good look at “Rozencrantz and Guildenstern are Dead” is a fine example of perspective switching – and one I agree with as the cast of ‘Hamlet’ is a bunch of basket cases.
The main character you started with may not be the one you need.
Or maybe you really build a world with so much going on and now you want to tell the tales and you aren’t sure where to start. You’ve got a potential cast of hundreds, or you have a world so detailed you could just whip up someone new to tell your stories. Where do you start?
If you have to evaluate a current main character for a demotion, a side character for a promotion, or figure where to start, I find these are good rules:
- A good main character or characters is in position for enough of the story to be told from their viewpoint (or viewpoints). They don’t have to see everything, but enough to tell the story you want to tell.
- A good main character knows enough for the audience to understand what’s going on via their perspective – of course it doesn’t have to be everything or even the majority of things. Jut enough.
- A good main character is relate-able for the audience. They don’t have to be like the audience, just someone the audience “gets”. A good writer/game designer/etc can make characters that are vastly different than the target audience but are still characters people understand.
Use this checklist to evaluate your main character or characters for the story you’re telling. You just might be surprised at who can tell your tale and how – and who can’t.
More Thoughts on Characters Before The World
If you’re the kind of person who created may characters before the setting (as happens the majority of the time in my opinion), then the checklist above is quite important. There’s good chance the world you made has gotten far more complex and populous and your story might not be best served by the perspective you wanted initially.
However, an additional danger you face is that our world may not be fleshed out enough in that you only created enough to tell the tale of your original chosen character or characters. You’ve got enough to tell their story, but their story is all that’s going on – the rest of the setting is just a cardboard cutout, a Potemkin universe.
Frankly, this happens a lot, as I’m sure we’re all aware. There’s a story, there’s a main character, but it’s happening a peculiarly dead setting, the story equivalent of on-rails video games. It may even be a decent or a good story – but it really doesn’t involve much worldbuilding.
I find a great way to avoid this is a simple rule – do you know your world well enough that, if all your main characters couldn’t be written for some reason, you have characters or potential characters that could tell interesting tales. They may not be the ones you wanted, but they could still be told. That’s always a good measure of the world’s completeness – especially if you started with specific main characters in mind.
We All Want To Be Someone
So when you tell your tales, sit down and make sure you’ve got the right perspective or perspectives. You build a huge world and you want to make it work, make people experience it.
If you can’t find the right characters, well, create some more! After all if you build a good setting, it can produce even more ways to tell the tale there . . .
Steven Savage is a Geek 2.0 writer, speaker, blogger, and job coach. He blogs on careers at http://www.musehack.com/, publishes books on career and culture at http://www.informotron.com/, and does a site of creative tools at http://www.seventhsanctum.com/. He can be reached at http://www.stevensavage.com/.
This post originally appeared at The Oak Wheel on July 17th, 2014.
Second Contact? Near-First Contact?
I don’t really know what the best term would be, but what we’re talking about is that time after the first contact has been made between two alien civilizations, but not so long after that they’re well-acclimated to each other. In other words, early enough that even the xenophiles are experiencing culture shock.
As before, humans can play either side of the field in the options presented. (more…)
This post originally appeared at The Oak Wheel on June 3rd, 2014.
“Craphound had wicked yard-sale karma, for a rotten, filthy alien bastard. He was too good at panning out the single grain of gold in a raging river of uselessness for me not to like him— respect him, anyway. But then he found the cowboy trunk. It was two months’ rent to me and nothing but some squirrelly alien kitsch-fetish to Craphound.” Craphound, by Cory Doctorow.
The following First Contact scenarios can be used with humans on either side of the encounter. Don’t discount the possibility humans being the relatively more advanced civilization making contact, or both being at about the same level. Most of them can be combined with several others (consider how “missionary work” could be added to “information/signals only”). (more…)
So we’ve covered biology, psychology, society, and how they tie to sex. My fundamental thesis is that sex is best viewed as a primal form of communication for life, and thus logically infuses all aspects of said life. Life, in short, transmits.
But there’s one more element of sex and your setting to consider beyond these – then come the metaphysical, mystical, and divine. If your world has a supernatural (or perhaps “metanatural”) component, then sex is going to impact that too. Sex is part of living beings, living beings deal with metaphysical realities, ergo it’s going to be something you have deal with as a world builder.
Got spirits and sorcery? Sex is going to come into the equation as your sentient races interact with such things.
Now this goes into so many potential areas I’m just going to cover the basics – since your worldbuilding will doubtlessly have its own elements that are unique to your work. I’m just trying to get things going here.
But first . . . (more…)
(This post is ironic in light of the recent Supreme Court decision, but at the same time quite illustrative)
So last time I discussed the complex elements of sex and society. Sex is a kind of primal element of living creatures, and thus affects how they develop, interact, and work together. Sentient creatures, so my thesis goes, are basically about communication, and sex is just the first form of it. Because it is so core to living beings, sex infuses a lot of what sentient beings do – or the complex structures that evolve and develop as they make societies and civilizations.
Now when it comes to worldbuilding cultures and society, reproduction and sex will inevitably be a part of what you create, because you don’t have members of a society without making more members of society – and all the complications that ensues. Sex may be simple in principle, but it gets pretty complex.
So to help you devise the sides of your society that involve sex (and tangentially that’ll be a lot), here’s a list of areas to consider. This is not a complete list, just a way to get you to develop the traditions, language, and so on for your society.
The fact that this is not a complete list gives you an idea of what you may face.
But First . . .
But first, let’s ask the thorny question – when designing a civilization or a culture or a society, just how much do you need to think about all of this? When you consider all the traditions, habits, words, and so on that involve sex it can be pretty exhausting to try and detail how a society handles sex. So how much do you need to do so you can get on to other stuff?
I mean yes, you can’t spend all your time thinking about sex, even when you feel you could if it was about you having it. You’ve got magic and solar systems and the like to design.
In this case, I advise a few things:
- Understand the basic attitude the society has about essential sexual issues.
- Detail the elements relevant to “manifest” that attitude clearly.
- Know “just a bit more” than you think your reader will need to know.
#1 is really important because, if you need to figure something out, you’re primed to figure out the answers for things you didn’t think of.
And with that said, let’s get going . . .
Society And Sex Checklist
So here’s areas that you’ll need to consider when designing sex and societies in your world. As noted it’s not complete, but it should be enough to keep you going.
Lineage: Most forms of reproduction we may conceive involve close lineages – someone is the offspring of so-and-so, who is the off-spring of such-and-such, going back in time. Sex means someone gets out there and produces the generation that produces the next one.
Just consider the battles over kingships and inheritances you’ve seen or read about. Or think about the obligations people have in your culture towards family members.
Is lineage (who’s the family of whom) important in your setting? If not, no worry – but if it is important (or instinctual) then how does it affect society, traditions, laws, and so on?
Exercise: Ask how many times you’ve dealt with lineage-based issues in your life – wills, inheritance, paternity, etc.
Birth: At some point a new life comes into being. So what does the society do then? Considering how much reproducing a society may do, there’s going to be a lot to do and thus . . . traditions, rules, and more.
Birth means you suddenly have a new member of society – and if your’e anything like humans, one that’s rather vulnerable and needs to be raised. It also brings in the complications of lineage, medical issues, validation of said lineage, health, and more. Birth is so complicated people may forget what the person giving birth is going through.
So it’s very likely a society is going to construct a lot of traditions and policies around birth. Birth is sort of the end result of sex – and the beginning of a lot of other questions.
Exercise: Last time you or a close friend or relative had a child, what social, religious, and cultural activities did you engage in? What purpose did they serve (if any)?
Raising Children: Once you’ve got new members of society, your various races and beings and societies are going to raise them. Perhaps there is, again, some difference between the people you write and we humans, but if not, then you’re back to the issue – raising kids.
In this case, you have to ask what raising children does – and following my theme of communication, it’s about taking new members of society and integrating them into said society. It’s helping them become functional, giving them a place, and telling them who they are.
On top of that,it’s also going to be influenced and influence other elements of society. It’s the morals to be passed on, the education, the principles. Raising Children is the end result of sex, and in the way what societies all come down to passing things on. It’s not just genes.
Exercise: How did you get raised to be who you are – and what worked and what didn’t? Why did the traditions and things you experienced exist (even if it wasn’t a good reason).
Puberty (or the lack): Puberty among humans is something we take for granted because we’re used to it. Every joke or lamentation about it seems so standard that we miss what it is – a child beginning the transformation into an adult, and an adult capable of reproduction. That’s actually pretty impressive, but we tend not to think about it.
It’s likely any species you design has some kind of change into having fall maturity and reproductive capacity. If this isn’t part of a species you design, then that alone brings in a lot of complexities. Have a sentient species that can reproduce right after birth and you have some seriously complicated issues. I mean at that point you’ve got human Tribbles.
But I’m going to focus on puberty or the equivalent in your settings, assuming a setting you created has creatures that take time to reach physical, mental, and sexual maturity.
Consider what puberty means. It means the transformation of a creature into a more mature form, which includes reproductive capacity. A society is going to have to cope with that because that’s a big change. It’s almost like the person is evolving into something else just within their lifetime.
Come to think of it, unless maturity comes in a proper order or all at once, sexual, mental, and physical maturity may arrive at different times. As we can see in humans, they don’t always line up – and if there’s something like that in your species, it gets more complicated. You can certainly see plenty of examples in human society where these things get complicated (just look at the arguments over sex education in America)
Exercise: Think of the different rituals you’ve seen for puberty, the different initiations (formal and otherwise), and social concern for adolescents. Now think of what that means for a society you develop.
Adulthood: If you’ve got some kind of maturing process (Puberty) at some point a creature in a society becomes an adult. That’s another level of complication.
Adulthood brings up a huge amounts of issues a society must cope with. When does someone become mature? What is needed for them to be a functional adult? How is this adulthood communicated to people? What rules about sex change at maturity?
Adulthood is when you get handed the keys to society as it were, so most societies consciously or unconsciously, in an organized or disorganized manner, need to have systems and institutions to pull that off. Needless to say plenty of interests – and competing interests – come into play.
Adulthood, to bring it back to our subject, is also when the ability to sexually reproduce is recognized and perhaps even emphasized. The child is now a member of society, and that usually indicates some reproductive capacity. Society needless to say needs to recognize and prepare them for this – and maybe prepare itself.
Exercise: When did you find you were considered an adult – or what do you think your society requires you to do to be considered an adult.
Courtship: Reproduction leads to offspring, offspring grow and mature – and then have more offspring. So when designing your society, you’re going to then have to figure out how society deals with your species finding mates and reproducing – well if they have sex.
It sort of comes full circle.
Societies have an interest in courtship because it usually leads to social bondings (marriage, relationships) and thus children. Actually it can also lead to children without other social issues, which means that society at large is kind of concerned with that as well.
It doesn’t take much reading of human history to see just how much drama, ritual, writing, poetry, conflicts, and time is dedicated to courtship. That should tell you that when you’re designing a society, you gotta gear up and cover courtship. Probably in painful detail.
Exercise: Walk through advice sections of a bookstore and see how many are on anything related to courtship, from dating to weddings.
Marriage: Reproduction leads to children who grow, mature, court, and then bond/pair bond/get married/what have you. Sentient beings enter into some kind of reproductive relationship, so for the sake of your world building I’m just gonna call it marriage.
Societies obviously have an interest in marriage since that involves social bonding, reproduction, and the roles of people. The individuals in societies obviously have an interest as well. So you’ll have to figure out how your society deals with marriage.
Marriage traditions around the world vary, and they vary in history, but their sheer prominence tells you that humans think a lot about it. You can assume most sentient species will be likewise involved.
When it comes to marriages, it’s also important to be aware that expectations and traditions and elements of societies may not be verbalized or obvious. They can be so accepted and so integral and so common no one even knows they’re they’re. Marriage, when you get to it, gets into everyday life – and thus people may not even pay attention to it.
Also marriages have boundaries – which you’re not supposed to transgress. There’s things you don’t do (and you’ll notice those often involve sex in our human societies). These things can change (such as issues of premarital sex).
Exercise: How many people do you know define themselves or are significantly defined by their marital relationships? How many people are defined by those relationships (such as children)?
Conception: OK you get children who grow up, become adults, court, get married – and the system starts all over again. New life gets created.
This is sort of where all of societies’ attitudes about sex come together – the rules, issues, and traditions of creating new life.
. . . or not creating new life. Because birth control, non reproductive sex, and so on also come into the picture. As noted sex is likely to infuse the lives of sentient beings and evolve and be repurposed with them, so there’s also points where you don’t want conception. Just logging onto the internet will give you access to plenty of things about non-reproductive sex that you should definitely not be looking at at work.
Thus your society is going to have plenty of rules for conception, not conceiving, pregnancy, and the like. Simply at that point you’re starting to get to having a new member of society (or avoiding new members), so there will be policies, rules, and traditions. Probably extensive ones.
Exercise: How have attitudes towards sex and conception changed in your lifetime? The lifetime of your parents? Of your country’s history? Why?
Decrease/End of Reproduction: Finally, there’s a point where life forms stop reproducing. Now in some cases that’s death (yes, I know if we drag in cloning, but stick with me here), but in the case of humans at least we often lose reproductive capacity before that point. Because this involves various biological changes, it can be pretty prominent in other ways.
Consider humans. Menopause involves the ceasing of reproductive ability and hormonal changes. Look at the concern about impotence men may have. Just consider issues of royal and family linages affected by age.
Rituals, society rules, obligations, and so on may recognize, have penalties, or compensate for these changes. After all they’re be, to say the least, rather noticeable as people are having it happen to them.
This is an area where world builders don’t give enough thought, in my opinion. So I’m encouraging you to.
Exercise: Where have you seen people deal with a loss of reproductive capacity, how did they react, and what social rules were involved.
Onward And Forward
This is just a limited list of major social areas where a society is going to have rules that, directly or indirectly, relate to sex. It should give you enough to think of.
I can say that sex is an area that is usually not addressed in proper detail in much world building – it’s too easy to map what is known or put “a twist” on an idea, or to just resort to tropes, without really exploring. But a look at the fascinating history of traditions related to sex, courtship, rules, art, and more shows there’s a lot to build and create in your worlds.
Done right it makes richer, more believable worlds and characters.
Steven Savage is a Geek 2.0 writer, speaker, blogger, and job coach. He blogs on careers at http://www.musehack.com/, publishes books on career and culture at http://www.informotron.com/, and does a site of creative tools at http://www.seventhsanctum.com/. He can be reached at http://www.stevensavage.com/.
This post originally appeared at The Oak Wheel on June 19th, 2014.
Say what you want about the unfettered spring of creativity, but I find that there’s a lot to be said for being mechanical and thorough at some parts of the operation.
The best example of this might be the Better Novel Project, which is taking a very deliberative approach to writing a blockbuster novel. What’s one of the things that you could point to as an indicator of runaway success? A film based on the book. Which books have been the most consistent at turning into films— and successful films, at that? YA novels. And of these, you wouldn’t go wrong with holding up Harry Potter, Twilight, and The Hunger Games as series that enjoyed great commercial success both in print and on the big screen.
Lady Geek Girl has a look at the “miswriting” of disabled characters in media which is informative (and predictable if you know the media.), but I find the real impact is how she ties this together to look at two awesome fictional characters with disabilities – Toph of The Last Airbender and Tyiron of Game of Thrones and how they provided opportunities for good writing.
Some food for thought for writers.
So have you written/drawn/created disabled characters, and if so how much research did you do? I confess that upon review, I haven’t, except one memorable case of a character with speech impediment and a minor brain injury (and that actually was part of a larger experience where he got religion and evolved as a person).
Steven Savage is a Geek 2.0 writer, speaker, blogger, and job coach. He blogs on careers at http://www.musehack.com/, publishes books on career and culture at http://www.informotron.com/, and does a site of creative tools at http://www.seventhsanctum.com/. He can be reached at http://www.stevensavage.com/.
This post originally appeared at The Oak Wheel on June 5th, 2014.
Music
Before we get to talking about anything else, let’s get something out of the way. If you’re anything like me then you like to listen to music while you work. And you often take a liking to a particular song for a particular story. And it kind of messes with your zen thing when you have to switch back to YouTube every three minutes to start your song back (and somebody’ gonna die tonight if there’s that one particular section of the song that you need to listen to for your groove to keep going). (more…)
[Way With Worlds appears at Seventh Sanctum, MuseHack, and Ongoing Worlds]
(Compliments to my friend Scott, whose essay on adaptions and history inspired this)
Genres, as I have heard it said, are reading instructions. We have certain expectations and mental toolkits that, when we read something of a given genre, we use to make sense of them. Wether this is good or bad is perhaps up for debate, but I think the basic truth is there – if only a truth of human nature of needing expectations.
I think this is why “genre mashes” are so popular. They engage two sets of expectations and combine them together, giving us both recognizable elements as well as a rush of the unusual, of ideas colliding. It’s that sense of things being both recognizable and different, which can bring inspiration, horror, humor, and other intense reactions that we seek.
However, genres are influences in worldbuilding as well. Because we are aware of audience expectations when we build our worlds and settings, when we tell our stories and code our games, we adjust what we do. Genre is also a set of worldbuilding and writing instructions to meet expectations.
In a way this makes genre a bit insidious as it may limit us – and in some cases we just start regurgitating tropes which is not so much worldbuilding as quilting. However I’d like to address a different issue, having focused on trope-piles before.
Genres hide within genres. When you adapt a certain genre consciously or unconsciously, you might be actually adapting a genre inside it – or surrounding it. If you’re not aware of this you can quickly suffocate your own worldbuilding under the weight of the things you’ve dragged in.
Consider The Western
This concept of genres within genres came when I was contemplating the role of Westerns in the above column. As I write this in 2014 it seems Westerns are often failed or are darkly-re-envisioned but most examples I saw were a genre fusion – the Space Western.
The Space Western at this time is nearly it’s own genre. It has it’s roots in early pulp SF and is obvious in the “Wagon Train” elements of Star Trek TOS. However in the last few decades it’s become it’s own thing. Just a few examples that come to mind:
- The movie series Oblivion.
- The frontier is referenced strongly in the Buck Rogers RPG from TSR.
- Firefly and Serenity
- Cowyboy Bebop (which has several other genres grafted on)
- Wildstar (which has a gunslinger type class).
The fact we even have the term “Space Western” to throw around says that it is Indeed A Thing.
Now I’ve got nothing against that. In fact I’ve rather enjoyed many Space Westerns, especially self-aware ones. But what I want to discuss is why SF would be bonded so closely with the Western – as it reveals the dangers of genre-mapping in worldbuilding.
Westerns, simply, are about frontiers. As SF itself is essentially about frontiers in many formats (especially explorational/people on a spaceship stories) the fusion fits perfectly. In a way, Westerns and SF share a similar “inside genre” – that of “people on the edge of the known” – and thus Space Westerns make perfect sense.
However Space Western as a genre – and indeed a bit of an overused ones, and thus a good example – also shows the danger of overfocusing on genre. Consider:
Maybe your SF story has a frontier element, but Western tropes don’t fit it – but if you drag those in unawares (or figure “this just must be a space western”) then you’re affecting your worldbuilding. Your world is getting buried under tropes and ideas that have nothing to do with your own ideas – that of the Space Western. You may, in short, figure (perhaps unconciously) that “my setting is a frontier” and then suddenly you’re using a genre (Space Western) inappropriately, and dumping in elements that really don’t fit your setting.
And this is the lesson. Sometimes you don’t want a genre – you want whats inside of it. You just may get confused over certain genres.
Sometimes It’s What’s Inside That Counts
Many times we choose or are inspired by various genres and incorporate them into our world – but what we may be looking at is a genre inside the other genre. If we’re not aware of that, however, we might pile on parts of the “container” genre inappropriately:
- Maybe you want to do a story of honor and revenge. Thus you are inspired by Samurai stories – but the elements of such tales may not fit your world as it has few cultural equivalents. You wanted honor and revenge, not the cultural complexities of Japanese culture.
- Perhaps you want to do a dark mystery in your fantasy setting, and certainly film noir wizards sound cool – but grafting on classic detective elements may not work in a world where you can use necromancy and interrogate the murder suspect (and you may realize this too late into your worldbuilding). You wanted the mindbending puzzles and betrayal of mysteries, not the film noir elements.
- Perhaps you like the Man Created Monster genre and want to work that into your realistic nanotechnology story – when you realize that when you have micromachines a giant stompy bad thing is inappropriate. What you wanted is to give the threat a personality.
Thus when you choose your genre or genres of your world, you may want to ask what you’re doing and why. Is it the genre or genres that you want to write – or is there something inside it that you’re really aiming for.
Food For Thought
So when you’re deciding on your genre(s) ask yourself these questions. What are you?
- Trying to say. Do/does the genre(s) make sense to what you’re writing or are you trying to use what’s “inside” one to communicate something.
- Really writing. What is at the core of your world? Why are you dressing it up in a given genre? Is it getting buried under the associated tropes??
- Trying to communicate to the audience. Genres can provide shorthand to the audience, but is what you’re saying actually served by the genre in question?
Closing
Genres may be instructions, but they can be limits – and even traps. But sometimes genres hide in genres, so you might not know just what you’re doing and why in your worldbuilding. Self-awareness – and genre-awareness – can help you greatly.
Steven Savage is a Geek 2.0 writer, speaker, blogger, and job coach. He blogs on careers at http://www.musehack.com/, publishes books on career and culture at http://www.informotron.com/, and does a site of creative tools at http://www.seventhsanctum.com/. He can be reached at http://www.stevensavage.com/.
This post originally appeared at The Oak Wheel on May 22, 2014.
“Companions, the creator seeks- not corpses, not herds of believers. Fellow creators, the creator seeks, those who inscribe new values on new tablets. Fellow creators, the creator seeks, and fellow harvesters; for everything about him is ripe for the harvest.” Thus Spake Zarathustra, by Friedrich Nietzsche.
Blue and orange morality, says TV Tropes, is what you have when “characters have a moral framework that is so utterly alien and foreign to human experience that we can’t peg them as good or evil… There might be a logic behind their actions, it’s just that they operate with entirely different sets of values and premises with which to draw their conclusions.” (more…)
