Five things about world-building

For those who write speculative fiction, especially, world building is a major part of the story. Some people have map, language charts and cultural layouts all ready before the start the first scene, while others make it up as they go along.

Either way, here are some world-building principles (listed by Sarah Monette, author of The Virtu and Melusine) that I think are important to keep in mind, whatever your process for bringing the universe inside your head to life.

Five Things I Know About World-Building

One big temptation I struggle with is to cram every bit of clever factoids I’ve devised into the story. In a writer’s mind, each fact is important and plays an integral part in making the world a whole, working unit. However, we must remember to assume the reader is intelligent and can draw a lot of mental connections and assumptions to make up for the bits that we don’t get into. Besides, the more paper we use up explaining the mechanics of how we reinvented the magical wheel, the less we have available to further the story and characters (though yes, sometimes you can do both simultaneously, but that can be a hard balance to manage for too long).

I also like her point that some details should be throwaway. Toss in some red herrings that keep your readers guessing as to what is important and what isn’t. Distract them by a mystical poem that actually turns out to be some drunken rambling in the end. Mention a name or some war, but then let any other reference to it vanish. She calls this the “illusion of depth” and it’s something I’ve tried to incorporate from time to time. In this way, your characters can speak and act in a more three-dimensional manner, and the world comes into being through subtle shades and colorful strokes in the background of the plot.

I see that smile.