World-Building – Belief Systems

Belief systems are part of the anthropologist’s triad – culture, language, myth (belief). These three are so intertwined I can’t imagine studying one without drawing deeply of the others. Our personal library contains ~300 books on different belief/faith/mythological/folkoric systems. If you count ebooks, the number goes over 1,000 volumes (and note my bias there).

But what about using belief/faith/mythological/folkoric systems as part of your world-building?

Margaret Atwood postulates a radical cultural change brought on by an exaggerated belief system in The Handmaid’s Tale, and that culture’s language evolves to sustain the belief system. Probably the best known blend of culture, language, and belief system is in Tolkien’s Trilogy. Brian Aldiss’ Helliconia series does an excellent job of blending these elements, but it’s all predicated on Helliconia’s weather (and perhaps you’ll appreciate how intertwined everything is when one builds a world from scratch).

Create a mythology only if such is necessary to move the story forward or is integral to the plot.

 
But again and to me, it comes down to “create a mythology only if such is necessary to move the story forward or is integral to the plot.”


Greetings! I’m your friendly, neighborhood Threshold Guardian. This is a protected post and requires either General Membership (free) or a Subscription (various levels). Members and Subscribers can LogIn. Non members can join. All posts are free to all members save certain posts in the My Work category. Enjoy!

Writing Something Horrifying in Three Steps

[A different version of this appeared on Timothy Bateson’s blog in Oct 2019.]

Psychologists and philosophers debate “horror” as a concept. Authors have it much easier. They want to make their readers uncomfortable, nervous. They want to give readers chills. They want readers to turn on all the lights, to check locks on the doors, to tuck their feet up under themselves so nothing can grab them from below, to check under the bed before getting under the covers, to look in their closets, to look at their loved ones suspiciously.

Most people, reading the above, will travel a psycho-emotive path from casual interest to mild anxiety. The psycho-emotive path occurs in the above due to progressive word choice – easier, uncomfortable, nervous, chills – followed by a series of recognizable anxiety behaviors – turn on lights, check locks, tuck feet, check under the bed, look in closets – and then we have the capper, the threat of personal betrayal – looking at their loved ones suspiciously.

Readers shouldn’t be able to recognize their growing anxiety. If they do, they’re paying attention to themselves, not the story, meaning the story isn’t fully engaging them. You want your readers concerned about what happens next in the story, not that they’re uncomfortable reading it.

Build Discomfort Slowly


Greetings! I’m your friendly, neighborhood Threshold Guardian. This is a protected post and requires either General Membership (free) or a Subscription (various levels). Members and Subscribers can LogIn. Non members can join. All posts are free to all members save certain posts in the My Work category. Enjoy!

World-Building – Language

There are three basic questions when considering language in world-building:

  • Does language play any role in your world?
  • Does everyone speak the same language, or is there a variety?
  • Do you need to invent any slang or terminology as part of the world-building process?

Here I paraphrase Aristotle’s Poetics, “Avoid neologisms unless introducing some new term/word/phrase is crucial to the plot; use jargon only to move the story along.”

Do you need to invent any slang or terminology as part if the world-building process?
The Augmented Man uses lots of military, biologic, and psychologic jargon, little of which is invented. One first reader asked me “Am I suppose to understand this stuff?” to which I answered, “If that stuff was replaced with something like ‘Oh, and we did lots of biologic and psychologic stuff to them’ would you have accepted Trailer could do what he could do?”
“No. Probably not.”
“More to the point, did you believe Donaldson (the character using most of the jargon) was an authority on what he talked about?”
“Definitely.”

Long story short, I could have reduced the jargon and it would have weakened the story and that brings us back to Aristotle’s Poetics; The jargon is crucial to the plot because it adds credibility to the story.

All cards on the table moment: Some reviewers comment they had to look up some terms. Lots of readers comment on the jargon. So far all of them kept reading despite the jargon. This poses and interesting problem to me:

  1. I could explain the jargon in greater detail so readers don’t have to look things up.
  2. I could use less jargon.
  3. I could include a glossary.

I have issues with each solution (and am open to suggestions).


Greetings! I’m your friendly, neighborhood Threshold Guardian. This is a protected post and requires either General Membership (free) or a Subscription (various levels). Members and Subscribers can LogIn. Non members can join. All posts are free to all members save certain posts in the My Work category. Enjoy!

Relatability

To me, the key to keeping readers focused on your story is relatability (yes, I know. If you’re reading my world-building posts, you’re shocked). A story is relatable when the reader can imagine themselves in the story, meaning the reader accepts what happens in the story as something that could happen to them, meaning it’s familiar, and that brings us back to grounding the unfamiliar in the familiar.

At this point, we revert to basic psychology; How do people relate to things? Turns out there are four basic ways:

  1. they’re familiar with a place (Setting)
  2. they’re familiar with what’s happening (Plot)
  3. they’re familiar with the people involved (Character)
  4. they’re familiar with what’s being said (Language)

Greetings! I’m your friendly, neighborhood Threshold Guardian. This is a protected post and requires either General Membership (free) or a Subscription (various levels). Members and Subscribers can LogIn. Non members can join. All posts are free to all members save certain posts in the My Work category. Enjoy!

World-Building – Moving from Mundane to Fantastic Settings

When asked, “How do characters move from mundane to fantastic settings?” the correct answer is:

  1. The take the 45st L, get off at the first stop, then go left at the bottom of the stairs.
  2. By grounding the unfamiliar in the familiar.

In the Harry Potter Universe, children get to Hogwarts from Platform 9 3/4 at London’s King’s Cross station. Aside from people not noticing a young person with a tram of luggage and a caged owl on top or that youngster and all their belongings suddenly disappearing into a brick pillar, we’re back to the familiar in the unfamiliar mentioned in World-Building – Revealing Settings Through Relatable Characters.

It’s worth noting that Harry Potter’s Platform 9 3/4 is a representation of the starting point for every hero on every hero’s journey regardless of culture or mythology: We enter the fantastic via the mundane. The invitation to the mythic must be accepted or there is no journey and the invitation must be accepted in front of others – Muggles – who can’t accept or refuse to accept it. Usually there’s a mentor/guide/guardian/herald/… someone to help the young adventurer on. Harry Potter’s Mrs. Weasley told him how to “enter”, ie, pass the first challenge.

The message here is that entry into the fantastic is always around us, is everywhere, is waiting for us to become aware. Consider Keith Jarrett’s preface to his album Treasure Island:

The treasure has always been there
It is not hidden
But is only where certain people would look
At all
Thus it remains a secret to the rest
And to solace themselves
They say it’s hidden
Or buried
To still their invading thoughts.

Some are calm and content
Or at peace, in their words

Some are stirred and cloudy
But they are improving their vision

Of the island
Of themselves

I make use of these “we must see the magic for it to exist” concepts myself in my short story The Magic Tassels: A shaman lives in a village and is known for the magic tassels he wears on his wrists. Different villages come and ask what the tassels are for and he asks them, “What do you think?” Everyone tells a magic story about them save three old women who mock him. Later the village is threatened and everyone will die. The villagers come to the shaman for help and his tassels turn into the magic each saw, which saves them.

Except for the three old women. When they ask him to save them he answers, “No, the only magic in my tassels is that which others put there. All the magic I gave others they already had. I merely reminded them of the magic within them. You saw nothing in my tassels, so there’s nothing I can give you. There is no magic in you for me to remind you.”


Greetings! I’m your friendly, neighborhood Threshold Guardian. This is a protected post and requires either General Membership (free) or a Subscription (various levels). Members and Subscribers can LogIn. Non members can join. All posts are free to all members save certain posts in the My Work category. Enjoy!