World-Building 102: Getting Organized

Last week, we talked about what world-building is and how to get started. Among other things, we learned that world-building is... well, it can be a lot.

Even if you're just taking regular old modern-day Earth and giving it a small tweak—like humans figure out how to get to Mars or there are actual witches—there are still dozens of questions and implications that you could think through to deepen the world. And for a full-blown secondary fantasy world? The questions are endless.

So today, we'll talk about organizing all of that so you don't get overwhelmed.

1) Start a world bible

A world bible is just a document (or a wiki or a Miro board or something) where you record your ideas and decisions. You'll need this so you can remember them and reference them later.

How you organize your world bible is up to you—the document is literally there to aid you and you alone. I like to separate mine into sections like a historical timeline, nations or kingdoms, sentient species, cosmology (how the world came to be), how magic works, unique plants and animals, etc. Obviously, not every story needs every section, but these are places to start.

Remember, too, that your world bible is a living document. It is for your benefit only, and you can revise and add to it as you need to.

2) Choose a point and work outward

It's overwhelming to try and think about everything at once, but the point of having a world bible is that you don't have to keep it all in your head. You can have one idea, write it down, and then move on to the next.

Maybe a cool idea for your magic system makes you think of some war that might have occurred—jot down the magic idea then move over to the history section. Maybe writing down ideas for that war raises the question of how many nations there are and what state they're in today—scroll down to the list of nations and start brainstorming some ideas for that.

Don't know how to answer a question yet? That's okay. Just write the question down and move on.

What if a new idea conflicts with an older one? That's okay! Again, nobody else is going to read this document, so it doesn't have to maintain internal consistency. I mean, you should try, but you can address conflicts as you discover them.

Often, when a new idea conflicts with something you thought of a while ago, you'll find that the older idea can be easily updated or dismissed. And if it can't, then maybe the new idea can be tweaked. Consistency is important in world-building, and it's a lot easier to create when you haven't even written the story yet.

SIDEBAR: Creating a world bible for collaboration—say, for a video game or when co-authoring a novel—does require more internal consistency. People who are not you will reference the world bible and assume what's in there is fact. The basic ideas in this post still apply though. You and your collaborators just have to do extra work to keep the world bible up to date.

3) Sketch out a timeline of events

I mentioned a timeline as part of the world bible. For me, this is where I often start, and it often becomes the backbone of my world. It helps me to understand how one thing led to another and how everything is connected.

It might not work that way for you, but a timeline is still a good thing to have. Understanding the larger story of your world is a good way to maintain consistency and create real depth.

4) Focus on your story

It's easy to go overboard on details and histories and nations and magic systems and flora and fauna... but remember that you don't have to flesh out everything. You really only need enough details to start writing your story.

When you feel yourself getting overwhelmed with questions or unable to detail some aspect of the world (or unwilling to because it feels boring), take a step back. Ask yourself, "Do I need to know this to write my story?"

Often, you don't.

Because world-building isn't about actually creating an entire world; it's about creating the illusion that you've created an entire world. And that's a lot easier to do.

How do you know when you're done?

The truth is you're never done. There are always more details you can think up (and there always will be when you start writing the story). The good news is that you don't have to be done to start writing.

World-building of the kind I've described above has two main goals: 

1. To help you understand your world enough to start writing
2. To give you extra details to draw from when you need them

We'll talk more about the latter one in a future post. But for now, you know you're done when you feel immersed in the world and ready to start writing the story.

Like I said before, if you are immersed in your world, then you can immerse your reader in it too, and that is the whole purpose of all of this.

World-Building 101: Asking Questions

If you're writing any kind of genre fiction—if there are any fantastical or sci-fi elements in your world at all—you need to do some world-building. This is true whether you're creating a full-blown fantasy world, a sci-fi universe set 100 years in our future, an urban fantasy that's mostly like our world but with some magic in it, or even just our regular world but everybody has self-driving cars now. All of these require some world-building.

So, let's talk about that.

What is world-building? It's you understanding why things are the way they are in your fictional setting and how things are different from our world. It's exploring the "What if?" behind your speculative fiction. What if magic was real? What if we colonized other planets? Even a full-blown fantasy world is a form of "What if?": What if there were a world like ours, except with elves and dwarves, and it was created by some kind of gods?

World-building is thinking through the implications of that "What if?" and then using those implications to flavor your story and immerse the reader.

How do you do it? By asking questions. For example, say your setting is a world exactly like ours except that the city your story takes place in was designed with walkable spaces and public transportation instead of cars. This is mostly (but not entirely) science-fiction, and it raises some questions that you might want to answer, like...

• How long has the city been like this? Was the city always this way, or was it converted from a car-based environment?
• Is it the only city like this, or are most cities in this world like this too?
• How do people feel about it? Is it just normal to them, or is it brand new or even controversial?
• How did the city come to be this way? Is it part of an urban-design experiment, or did the culture shift away from traditional cities because something happened, or something else?
• Does the city's design have a direct impact on the story, or is it more of a backdrop?

With each question, you'll want to explore how that might change things. How do people feel about the city? How does that affect the story?

And as you answer questions, more questions will come up. You might not know or even care about all the answers, and that's okay, but thinking through some of them will enable you to flesh out the world in your mind.

The more you can immerse yourself in the world, the better you'll be able to immerse your readers.

What about deeper world-building, like secondary fantasy worlds? The example above presents only a small change in our world, and already there are a lot of questions and things to think through. How do you create a whole new world?

The same way: by asking questions. For example...

What is a central feature of this world that makes it interesting and/or different from our world? This is usually some form of magic, but it doesn't have to be. For example, the Game of Thrones universe has dragons on one side, White Walkers on another, and a very particular political situation among the humans in the middle. It does have magic, but that magic isn't central to what makes the world unique.

Are there sentient species other than humans? What are they like? Where did they come from (e.g., were they created by gods, or are they an evolutionary branch, etc.)?

Is there magic? Who can do it? How does it work? How long has it existed? What would the implications be on war, economics, and politics if certain spells existed and could be cast by anybody?

What kingdoms, nations, and cultures are there? How are they different? What is interesting and unique about them? Why are they like that?

What are the major historical events that have occurred? How have they affected the people of the present? Were there wars? If so, how big, how long, or how terrible? What do people think of these events now?

Just keep asking questions—the same questions your readers will be asking, in fact. The more you ask and answer, the more fleshed out your world will be.

This all feels like a lot. And it is... and it's just the tip of the iceberg, but it's also a lot of fun!

We'll talk more in future posts about how to organize your thoughts and get the world-building on the page, but to start, you really just have to let your mind wander and ask why?

Think about what excited you about this world idea in the first place. Was it a magic system? A future society living among the stars? A particular "What if...?" that piqued your interest? Start there and branch out, following whatever questions and threads interest you the most. Don't worry about answering everything, just the parts that are exciting to you.

Because if it's exciting to you, it will be exciting to your readers, and that, really, is the whole point.

Setting Up Character Growth

Writing a compelling story requires a lot of ingredients. One key ingredient is the character arc.

Compelling characters—especially protagonists—usually grow and change over the course of the story. They learn something about the world or themselves, and this knowledge changes the way they live their life. This is, of course, talking about a traditionally Western style of story, but if you're publishing in the Western market, you'll want to know this.

Character growth is compelling because we want to believe that people can grow and change—we want that for ourselves. It's compelling because the character has a dream and strives to achieve it despite all odds, and we love that. That's the kind of character we can root for and identify with.

What if you designed the character and obstacles in your story such that they are diametrically opposed? A pacifist must defeat a murderous dictator. A rebellious loner must trust others in order to stop a great danger. A nervous homebody must overcome their fear to rescue someone they love. The character is ill-equipped to face the obstacles in their way, and the only way to achieve their goal is to grow.

It's a compelling arc, which is why you see it everywhere in fiction. It might look like this:

1. A character believes something that has served them well their whole life. Neo believes he is nobody special. Shrek believes he's unworthy of love. Hiccup believes he is a bad Viking.
2. The character wants something that cannot be achieved with their old beliefs. Neo wants to understand the Matrix, but he must become special to survive. Shrek wants Lord Farquad to leave him alone, but he must rescue a princess to do it. Hiccup wants his father to accept him, but he has to be a good Viking to do it.
3. There comes a crisis point where the character tries to solve the problem the old way, and it fails them. Neo's mentor is going to die, so Neo tries to fight using what he knows. Shrek realizes he loves the princess. Hiccup is torn between pleasing his father and protecting his dragon Toothless.
4. At their lowest point, the character must learn something new. Neo nearly dies, until he sees the Matrix for what it really is. Shrek decides to risk everything for his love. Hiccup decides to be the kind of Viking he wants to be.
5. The story's climax shows the character stepping into this new way of being. Neo defeats the Agents. Shrek and his friends stand up to Lord Farquad. Hiccup and Toothless rescue Hiccup's father.

The character at the end is different than they were at the beginning. If the character-at-the-end had faced the same inciting incident, maybe the story would never have happened! That's true growth.

Of course, this is just one way to draw a compelling character arc. It's effective, but it's not a formula—merely a framework that you can customize for your story. Experiment. Try new things, and see what works for you.

And then do that.

The Pressure We Put On Ourselves

A lot of what I write here is projection. That is to say, a lot of my advice are things I need to remind myself. And one thing I constantly struggle with (as do many writers) is the fear that what I'm writing isn't very good.

This fear is paralyzing. It frequently makes me not want to write at all.

But here's the thing. The part of you that is afraid, that puts pressure on you to MAKE IT GUD OR WHAT'S THE POINT, is—believe it or not—trying to help you. It wants you to create amazing things, and it believes that you can! But it doesn't realize that the pressure it's putting on you is actually having the opposite effect.

That's because the pressure used to work. When you started writing, you pushed yourself to improve, to get your butt in the chair, to get the words out. That pressure is what got you on the writing path in the first place. (Probably. I'm definitely projecting now.)

But the pressure didn't stop, and people can't live under pressure all the time forever. Writing is a marathon, not a sprint, but that pressuring part of you wants you to run your hardest the entire time.

What I've had to learn is how to be kind to myself. I need to give myself permission to suck, of course, but I also need to be kind to that part that's yelling at me all the time. It's just doing what worked, and in truth, I don't want it to stop completely. I just want it to trust me.

For me, that involves a lot of self talk. Whenever I'm doing something hard, especially writing, I end up having a conversation something like this:

ME: This sucks. What's the point?

ALSO ME: It won't suck when it's finished.

ME: It'll take so much work to get there though.

ALSO ME: That's okay. We've done it before. We'll do it again.

ME: What if it never gets better?

ALSO ME: It will. It always does.

ME: What if this time's different?

ALSO ME: Then we'll figure it out when we get there.

And so on.

In the past, I would get depressed or angry with myself for not being good enough. Now, I'm trying to be kinder, to talk myself through it. I've written stories before, and I'll do it again. It's always hard, but I know how to do the work to make the story better. I know I can do it.

You can too.

Personal Updates

There has been a lot going on in my own life lately. I know many of you care about such things, so in lieu of writing tips today, I wanted to fill you in on some things.

On work. After a few months without steady work, I've secured a long-term contract as a narrative editor for an upcoming action RPG. It's really fun work, combining my experience in writing, editing, and branching dialogue. I also get to work with some pretty great people (and a stable paycheck is no joke).

I'm also still taking on private clients. When I restarted my editing services, it was with the intent of keeping them going indefinitely. Rebooting freelance work is hard, and ultimately, I'd like nothing more than to serve private clients full time if I can. So, if you need editing for your novel in any form, let me know!

On writing. This topic's harder. A couple of months ago, I lost my agent. It was nothing bad between us—Tricia Lawrence is a fantastic agent!—but the agency was restructuring, and she and I hadn't sold anything in a long while. I don't fault her decision one bit.

It's also been a while since I've been able to focus on my own writing. I've been doing more for the kids this past year as well as going through therapy for myself, both of which resulted in less mental, emotional, and temporal resources to create worlds. I'm still hopeful that I will be able to return to it soon (see "On life," below), but yeah, it's been hard.

I do still have one novel sitting with a publisher. It has gone through a rewrite and a couple of rounds of revisions. I'm hopeful something will happen with that soon, but without a contract, there are no guarantees yet. We'll see.

On life. There have been a lot of changes in my household in the last several months, and a few more coming. Many of you know that my real job is being the dad of many, many kids. And this past year, I have been the stay-at-home parent in addition to work, which (as stated) has contributed to a reduced ability to write for myself. (Current events aren't helping either.)

And even more changes are coming. Chief among them is that my first-born biological son has moved to the States, and several others (we have five boys within a year of each other) may be moving out soon as well. This is hard emotionally and comes with a lot of unknowns. Empty nest syndrome is real, folks (and yes, I recognize how weird it is to talk about an "empty nest" when three to six of them are still at home).

But who knows? Maybe once I've worked through the emotions of it all and solidified a new schedule, I'll be able to write some more. I certainly hope to. I have a lot of hopes for my near future, but right now, I feel like I'm in a liminal state, waiting for the end of the transition.

Until then, I'm gonna keep doing what I'm doing, working on my editing, spending time with kids who haven't left, and working on myself.

So, that's me...

What Readers Really Want

“And so,” he said, “in the end, what must we determine? Is it the intellect of a genius that we revere? If it were their artistry, the beauty of their mind, would we not laud it regardless of whether we’d seen their product before?

“But we don’t. Given two works of artistic majesty, otherwise weighted equally, we will give greater acclaim to the one who did it first. It doesn’t matter what you create. It matters what you create before anyone else.

“So it’s not the beauty itself we admire. It’s not the force of intellect. It’s not invention, aesthetics, or capacity itself. The greatest talent that we think a man can have?” He plucked one final string. “Seems to me that it must be nothing more than novelty.”

—Brandon Sanderson, The Way of Kings

As much as we write for the love of storytelling, most of us also want our writing to be popular. We try to write what people want to read, what's popular, or what speaks to the current moment. The publishing industry compounds this, publishing something people really like, and then—whether serendipitously or to cash in on a trend—they publish a bunch of other things like it.

That's not to say follow-ups are all clones. They are often very good on their own! But the sameness of a genre can wear out the audience, and eventually, a lot of readers no longer want to read stories about, for example, dystopian YA or magical schools. (More's the pity.)

We can't control the publishing industry, but we can control what we write. We can't know what will sell, but we know what people want. They want to be surprised and delighted and entertained, and the way to do that—just as Brandon Sanderson's character Wit points out above—is to give them something new.

Readers get bored when they can predict what will happen or when they feel like they've seen something before, but we love novelty.

And there's nothing in this world more novel than you.

I do think it's important to be aware of trends, and it's no good trying to avoid all the tropes (it can't be done), but the most important thing is to write something you like and to infuse it with your unique heart, voice, and experiences.

Because whether they know it or not yet, that is what readers really want.

Injecting Emotion

Most writers don't think of ourselves as actors, but we are a little bit. We have to imagine what our characters are feeling and then portray it. It's just that writers portray it slowly on the page (and revised over time) rather than in the moment with our voices and bodies. It's a different medium, but the goal is the same: to connect with the audience, to make them feel what we feel.

I've talked before about using description to convey emotion. Among other things, I said, "Think about what's happening in the scene—what can be seen, heard, felt, smelled, or even tasted. Then, think about what the characters are feeling and use that to color what is described and how."

Let's go a bit beyond that. What if you didn't just think about what your characters are feeling? What if you felt it too?

Of course, every writer's process is different, but it's likely you're already doing this—at least sometimes. You may have become sad when you had to kill a character or gotten angry at something your villain did. That's what this is. All you gotta do then is use it.

Take those emotions and describe them: what your body feels or how your feelings color the world around you. Your description doesn't have to be perfect (it's not gonna be—it's a first draft!), but there will be gems in there. More importantly, that initial description will help you feel those feelings again when you revise, so you can fine tune it to better describe what you were feeling at the time.

Right, but... How?

Some people struggle with feeling these emotions. I certainly did. For most of my life, I considered emotions untrustworthy, something to be avoided. That belief led me to shunt my emotions down until I didn't feel them anymore. (Or rather, I thought I wasn't feeling them. In truth, I didn't recognize them for what they were, but they created all kinds of stress and anxiety, among other things. But that's a whole other post...)

If this resonates with you too, here are some tips that might help you tap into your characters' emotions better, thus helping your readers do the same.

Act out the scene. Put yourself in your characters' shoes, not just in your head but physically. (If you have a willing friend, act it out with them—maybe even talk about what both of you are feeling afterward.)

Draw from your experiences. Maybe you've never had to flee from a deadly assassin or walked through a haunted wood, but you have been scared. Think about times you felt something like what your characters are feeling and put yourself back in that situation. What did it feel like? What was going on with your body? Can you feel those feelings again?

Learn from the acting world. Actors have to be in touch with their emotions, and we can learn a lot from them. I'm not saying take acting lessons or join a troupe (though those would certainly help improve your writing!), but maybe read some articles about acting or improv. Learn about what actors do that we don't normally think of.

Play D&D or other tabletop RPGs. Tabletop RPGs are a fantastic and relatively safe way to practice putting yourself in someone else's head. Granted, most TTRPG groups aren't going to deep-dive into emotional acting, but they are an entertaining way to imagine what someone who is not you might feel or do in situations you've never been in. (It can also be another method to practice a bit of improv!)

Do some inner work. I'm not suggesting you seek counseling to become a better writer, but if you're struggling with emotions—whether your own real-life emotions or feeling the imagined ones of your characters—maybe process why that is. Emotions are a normal and vital part of being human (and a critical part of writing). It's well worth exploring our own issues with them.

Again, every writer has their own process. It might be that none of this is for you, and that's fine. But if you're seeking to better connect readers with your characters, I hope you can find something useful here.