World Building: The Master Guide

Many authors use the phrase “worldbuilding,” particularly in science fiction and fantasy. Great writers can transport us to another planet and make us nostalgic for a place we’ve never visited. But worldbuilding may be intimidating for novice (or not so new) writers.

Planning Your World

When it comes to worldbuilding, there are two sorts of authors: planners and improvisers. Before writing the first draft, planners map out their world’s topography and history. Other writers are regarded as “pantsers” who “write on the fly.” Each strategy has benefits and drawbacks.

Over-planning

Planning and describing your universe may help you build a firm foundation. You’ll be able to concentrate on your plot more easily if you already know where your cities are, who your protagonist could encounter, and how your universe operates.

There is a risk to planning: getting so caught up in worldbuilding that you keep postponing writing the novel. Have you ever promised yourself that you’d write after cleaning the kitchen or the bedroom? Over-planning is the same as domestic chores, except with character biographies and crypto cartography.

Writing yourself into a hole

Those who choose not to take lengthy notes may begin with an idea or a character and write from there. ‘Pantsers’ generally find it simpler to get their first draft done without having to adhere to a strict strategy. It takes longer to revise since you have to deal with continuity difficulties at the end.

There is no right or wrong method to design a planet. That said, it’s critical to find the way that works best for you so you can finish with a tale.

Does your story take place in our world?

Your narrative will either be situated in reality or in a “second world” fiction. That’s another way of stating it’s a made-up location. Books like George R.R. Martin’s A Song of Ice and Fire and Raymond E. Feist’s Riftwar cycle are typical “second world” fantasy instances, where authors are unbound by historical courses or laws.

Writers of “second world” fantasy must give their settings a sense of history and geography. Your whole universe takes attention:

• What are the characters like in this world?
• Are there more than one sentient species?
• Do they all speak the same language?
• Is this a planet just like Earth? Or a desert planet of some sort?
• Does magic exist?
• What’s the technology like?

Alternate history fantasy (which we’ll discuss later) and historical fantasy are two subgenres of “real world” fantasy.

Preparation for “real world” fantasy is equal. You’re bound by history, technology, and politics. It may take some research. While historical license is acceptable (and encouraged) in historical fantasy, your readers will notice if Atilla the Hun kidnaps Florence Nightingale without a time machine.

Creating a map

When the protagonists travel someplace new, many fantasy readers want to consult a map. Maps aren’t always essential, but they may help you picture your world as you develop it.

Building your own histories

History defines civilizations. That may be a broad statement, but it has some truth. Regardless of genre, writers should know their world’s history.

So, what can you do?

Steal from the past

The border between historical fiction and fantasy is often blurred. A decent fantasy planet will have a history as rich as ours here on Earth Prime.

Inspiration may strike at any time. In A Game of Thrones, Martin famously based the main war on The War of the Roses. Martin starts with a disguised version of English history and fills in the rest with dragons, insane kings, and ice zombies.

Anticipate blanks in the timeline

Let us imagine a future version of our reality: there is still much to accomplish. You need to know what occurred between now and when your novel is set.

Predict future technological and social advancements. Then, think about how these changes impacted your book’s characters and societies.

Write an alternate history

Many “alternative history” works start with a “what if?” Imagine a single point of divergence: a historical moment that moved slightly, causing effects that reverberate across time.

In Philip K. Dick’s The Man in the High Castle, the plot diverges with President Franklin Roosevelt’s murder in the early 1930s. It prolongs the Depression and American isolationism, enabling Germany and Japan to win WWII. “What would 1960s America be like if the Allies lost?” the book asks.

For example, “What if a 1950s Hill Valley bully got a Sports Almanac from a young time-traveler called Marty McFly?”

Developing believable cultures

Adapting Arthurian, Norse, or Aboriginal cultural motifs is popular in science fiction and fantasy. Use them as a starting point, but rapidly make them your own. Avoid clichés and stereotypes by not just copying current cultures into your second-world fiction.

Consider how a culture could evolve throughout time. Consider an Icelandic generation ship, a vessel built to visit new planets over generations. How has Icelandic culture evolved if we rejoin this ship centuries later? Will technology have a greater impact on certain aspects of their society? Or has the civilization returned to the ancient Norse faiths (or a distorted version)?

Mind your language

Languages may be a fun and exciting way to world build. The spoken word reflects the societies that generated it, and language development generally indicates social change.v As in Anthony Burgess’ 1962 book A Clockwork Orange, the youngsters use a vernacular dubbed “Nadsat” that combines Russian and English vocabulary. That pick alone suggests a dismal future where Soviet culture has moved farther West.

Most of us think of Tolkien’s Elvish languages or excited fans barking in Klingon. But language is a universal theme in novels. Your choices here will impact the story’s development and credibility.

How much science should go into science fiction?

Now we’ve reached a classic question. Science and technology are clearly important in science fiction, but that doesn’t imply you need a Ph.D. to start worldbuilding. Examine both ends of the SF spectrum.

Hard science

This is a style of writing based on technical facts. Arthur C. Clarke, well known for his script for 2001: A Space Odyssey, is a pioneer in this discipline. Most importantly, you should get your facts straight whether you write about science or technology. Many genre lovers will know more about science than you. They will correct you if you get the information incorrect.

You may always seek help online. Wikipedia is a good place to start if you’re afraid of approaching people.

Dammit, I’m a writer — not a physicist!

If you’re not a scientific buff but want to write in the genre, you may follow in the footsteps of the late Iain M. Banks. Banks’ world is replete with science fiction staples like droids and spaceships — but he never explains how any of it works.

It makes sense from a narrative viewpoint: current books seldom describe how iPads function. They’re just part of regular life for us. Banks chooses to concentrate on narrative and character, proving that excellent science fiction can be written without considerable scientific knowledge.

Play your ‘get out of jail free’ card

You won’t disregard science? Since we’re still talking about fiction, we can construct a “whatever” gadget that depends on bogus science that no one needs to comprehend.

In her Hainish novels, Ursula Le Guin devised the “ansible,” a gadget that allowed immediate communication across planet systems. It has no scientific foundation, yet readers accept it because it helps the tale. Her 1962 novel Rocannon’s World introduced the ansible, which other writers, including Orson Scott Card, have used in their writings.

Certain science fiction works include questionable science, yet readers don’t always mind. Wikipedia has a good page on FTL travel if you need some ideas.

Technology in fantasy

Even in fantasy, science and technology are there. There may be black powder weaponry like bombs and cannons on your planet. There may be magic or steam-powered machinery. If you decide to use any of them, you must maintain consistency and internal logic.

About magic…

Magic systems

Like science, fantasy magic should have clear laws and bounds (or a ‘system’). You can bring anybody back from the dead, turn back time, and save your hero from peril by using ‘magic.’

Begin by studying the magic systems of the novels you like. Through this technique, the sorcerers of David Eddings’ Belgariad display their willpower. It doesn’t need potions or scrolls, but there are laws and limitations, such as not raising the dead.

If magic is prevalent, how is it learned? In Trudi Canavan’s Black Magician trilogy, there is a Magician’s Guild with an organized hierarchy. Harry Potter’s wizards go to boarding school and wind up in magical middle management. Imagining how magic might work in your world will make your novel more realistic and accessible.

Consider also what magic is. What are the repercussions on your world and the users? Maybe it’s physically draining. Is your protagonist a celebrity if they are the world’s only sorcerer? Not far incorrect if you remember ’cause and effect.’

Do we need to know how the magic is made?

Like science fiction, you may opt not to explain how magic works and keep it mysterious. After all, revealing all of magic’s mysteries virtually destroys its power.

Additional Pointers

As you set about worldbuilding in earnest, here are some additional pointers to consider. This worldbuilding template will help you out.

Take lots of notes

Write down any observations that you believe can help your tale or world since you will always forget a good idea. Many authors still use notebooks, but apps like Scrivener and Evernote help you sync notes across your phone, tablet, and computer.

Start with a story, not a world

Readers enjoy a vibrant setting, but a book isn’t alive without a compelling tale and people. Use your worldbuilding approach to aid the storyline, characters, and ideas. Aim for a story-world balance, not the other way around.

Think about conflict

Conflict is the foundation of all drama; therefore, create some in your universe. Even in a flawless society, there will be a hidden undercurrent of tension that forms the spine of your story.

Suggested reading

The most essential piece of advice is to read as much as possible. Enjoy the tales but keep an eye out for what’s working in your area.

You never know where you’ll get inspiration for a new character or a brilliant storytelling device. Here are some additional resources on worldbuilding:

• Wonderbook: The Illustrated Guide to Creating Imaginative Fiction by Jeff Vandermeer
• Writing Fantasy & Science Fiction by Lisa Tuttle
• The Tough Guide to Fantasyland by Diana Wynne Jones