World Building Wednesday: A series of short posts in which I write about my personal theory of how I approach world building, specifics of things to consider, and practical suggestions on how to use world building in the text. This is not a prescriptive program. I don’t think people must do things the way I do. I talk about my process because it is what I know. That’s it. Short bites: long tail.

What do I mean by an internal map?

I define an internal map as how the people in this made up world perceive the cosmos and their place in it.

People and societies have an “internal map” that orients how they see the world and influences the choices they make and the perspectives they cherish, enforce, and share. This is true for characters and cultures in narrative as well.

By cosmos I mean a people’s understanding of the universe, how they perceive that it works, and what brought them to the place (land) they are now. This view may or may not be influenced by religious beliefs.

Other elements of the internal map include cultural beliefs and expectations, laws and customs, and societally approved prejudices and/or rebellion against them. People (and thus characters) understand who they are in the world and what their relationships are to others according to this internalized map. What are the rules and customs of behavior that govern them, and does any given character as an individual obey them or not? Expectations about things like hierarchy, class, gender, sexuality, ethnicity, and race will all be part of a character’s internal map.

There will almost certainly be more than one “people” in a secondary world, and each “people” will have a unique way of understanding the cosmos and their relationship to their gods (if they have them), the natural environment, their culture and sub-cultures, and to other groups and peoples both within and outside their own culture.

Internal maps are therefore not monolithic to each world or even each nation (or even individuals in the same setting). They will be influenced by the nuances, variations, and local characteristics that affect any given individual’s life. For example, a Japanese-American girl growing up in Nebraska as one of only a handful of Asian-American students at her high school is going to have a somewhat different internal map than a girl of Japanese ancestry growing up in Hawaii with its majority Asian & Pacific Islander demographic make up, and they again will have different internal maps to a Japanese girl growing up in Japan.

For me, the beginnings of understanding a world starts with my first explorations into an internal map.

Obviously no made up world is going to be as complex as the real world–I believe it is functionally not possible–but having the idea that there is an internal map provides the foundation on which I can build what I hope is a nuanced landscape.

I also have to remember that this map will always be influenced by my own internal map, the one that orients me. If I’m not aware of my own internal perspectives and biases, the ones influenced by my family, my upbringing and schooling, and the society I live in, then I am likely to reinforce or repeat my perspectives and biases within the story I’m writing regardless of whether I’m trying to write a place that is different from where I live.

I’ll use marriage customs as an example. When I read science fiction novels set in the far future in which a woman automatically takes her husband’s name and there is no explanation for why this happened, I perceive defaulting to certain common American legal norms at work. A woman taking her husband’s name is a specific cultural custom, not a universal one. When it is treated as a universal then I know the writer isn’t stepping outside their own internal map. It’s not that this custom should never be invoked in (for example) secondary world or far future fiction, but rather that if the writer chooses to include it then it’s best to be aware that there needs to be context for it.

Here’s another commonly used default: the virgin bride. Not every pre-modern culture concerns itself with women’s virginity as a token of honor and purity. Nor is marriage necessarily about sexual access. If marriage customs have a place in the society you are creating then understand how they work and in what ways marriage is considered useful as an institution in the society you are creating. If you merely replicate generically understood 1950s American marriage customs and sexual mores, you are re-using a cultural map that has been (in many places) superseded in the 21st century and which gas not ever represented a universal marriage pattern.

So, yes, my perspectives and biases will show up in the stories I write in off-hand and subtle, or not so subtle, ways, but the more awareness I can bring to my world creation the more deliberate I can make my choices. Because I guarantee: our unexamined biases will inevitably filter into our imagined worlds.

This is why I don’t “start with a map” by placing mountains and rivers and cities on a piece of paper: because physical landmarks offer only a partial understanding of a world. A physical map is by definition incomplete and circumscribed because it gives no insight into the mental and emotional and spiritual processes of the characters and the cultures in which those characters live their lives.

But at the same time, the physical geography in which a culture arises creates many of its own constraints and possibilities.

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Next week: Geography is Destiny

Coming soon: More on internal maps and how to develop them, including a practical example post and one on diagramming cosmologies. Also a discussion of common narrative maps and tropes and how they influence worldbuilding. And more.

Previously: Introduction, The Flowering of an Image, Inductive to Deductive, Image to Idea: A Practical Idea, Deductive or Inductive: A Guest Perspective (Aliette de Bodard), The Map as Theory

World Building Wednesday: A series of short posts in which I write about my personal theory of how I approach world building, specifics of things to consider, and practical suggestions on how to use world building in the text. This is not a prescriptive program. I don’t think people must do things the way I do. I talk about my process because it is what I know. That’s it. Short bites: long tail.

I always start with a map.

However–and this is crucial–there are two kinds of maps.

One is the physical, geographical “external” map.

The other is the socio-cultural “internal” map.

When I use the word map many people think I am talking about a physical representation of the geography of a world. But a map isn’t limited to physical representation. Maps are patterns we impose. When world building I believe it is important to be aware of maps AS PATTERNS and to think about what these often unconsciously-imposed patterns may mean when we create a secondary world.

As world builders, writers can go over the same sort of terrain over and over again because it’s the landscape people are familiar with.

Here are three well worn narrative maps:

King (or any authoritarian adult male figure) dies at hand of usurper, son flees, and must return to overthrow the usurper and restore rightful rule/status.

Evil lord or horde lays waste (or oppressive king places chains on his subjects) and band of heroes must rise up (rise up!) to take back the land and/or beat back the threat.

Two people meet and feel attraction; obstacles intervene and are overcome; they kiss.

Most readers recognize these sorts of narrative maps, and often choose to return to places that have familiar contours. I do, too. There is nothing wrong with creating a setting that feels familiar and comfortable and is populated by characters who act in ways familiar and comfortable to you as the writer. I do this as well, or in specific ways within my books.

Just be aware that stories that are specific to your experience and your comfort and familiarity level are not universal stories, even if we have been told they are. For example, the Joseph Campbell version of The Hero’s Journey is not universal, it is particularist. That’s fine that it is what it is, but best not to claim for it something it is not.

The beauty of fiction in general and fantasy and science fiction in particular is that we always have a chance to move beyond the border, beyond the boundaries, to see the world in a way we haven’t looked at it before.

While building a world, I believe one must constantly negotiate the balance between the experiences and subjective assumptions I bring to the world I’m creating and the experiences and assumptions that are meant to exist in the world itself, that are meant to represent this specific world’s way of being rather than my own way of being.

I can think like I do, but I also need to know how the people in my world think.

If the two are the same, I need to know and recognize that. If they are different, I need to write their world as the characters see it, not as I see it. (I’ll explore this point in more detail in a later post.)

Furthermore, maps are not objective. It is commonplace to define a “western-style” map as an objective measure of the land, but it isn’t. Mapmakers are always making choices about how a place is represented and what matters enough to put on the map.

No one builds a world from an objective place. As a world builder, you are making a series of decisions about what matters enough to go in the map, and about what and how it is represented. If a place or character isn’t on YOUR map, the map in your mind of what matters about the world you want to write about, then you the writer can certainly not go to places you’ve never thought about, places you think don’t matter enough to warrant notice. Matters that aren’t visible to you.

This is why the map I start with is the internal map.

Every character in the story has an internal map through which they measure, comprehend, and navigate the world they live in. Their maps won’t be the same as every other character’s, and they (probably) won’t be the same as mine.

To understand how “the peoples of my world” look at the world they “live in,” I have to move outside my own narrow range of experience. To a fair degree I never can, but with conscious effort I can attempt to widen my view and shrink my limitations bit by bit and piece by piece. If I don’t think about the unconscious ways in which my understanding of the world is limited by my upbringing and its setting, and by my own cultural expectations and experiences and perceptions and biases, then I will bring those unexamined assumptions into my world building (and I do indeed do this all the time despite my efforts not to). Again, it’s fine to do that if that’s the story you want to tell, but that too is a choice. Own it.

So, yes, early on in the process I will draw a cartographical representation of the physical world. Yet for me the most important “map” is bigger than that. It’s not flat, it’s multi-dimensional: A physical map intersects with this internal map, and these conjoined maps influence and are influenced by the architecture of the narrative as it unfolds.

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Next week: The Internal Map
Previously: Introduction, The Flowering of an Image, Inductive to Deductive, Image to Idea: A Practical Idea, Deductive or Inductive: A Guest Perspective (Aliette de Bodard)

World Building Wednesday: A series of short posts in which I write about my personal theory of how I approach world building, specifics of things to consider, and practical suggestions on how to use world building in the text. This is not a prescriptive program. I don’t think people must do things the way I do. I talk about my process because it is what I know. That’s it. Short bites: long tail.

Today I’m thrilled to present a guest post by Aliette de Bodard. Having written about whether I use an inductive or deductive (top down or bottom up) approach, I thought it would be illuminating to see how another writer works in a way different from my own. I can’t emphasize enough that writing isn’t a specific process to learn, but rather a matter of discovering the process works for you.

Here you go:

From the top down, or how vibes and research drive my worldbuilding

by Aliette de Bodard

Disclaimer: this is the way things happen to work for me now. Like all writing advice, this is no way an obligation. I’m simply sharing stuff that currently helps me write fiction–and if it doesn’t work for you, or if only part of it works for you, that’s totally cool. Everyone has a different process, and also processes change quite a bit over the months/years!

I have a tendency to build my universes from the top down.

It’s by no means an absolute rule: I’m a big fan of “whatever works”, and especially for short stories I have built with a mixture of top down and bottom up, or simply bottom up like Alis does (though I can’t noodle for long. I have to get specific fairly fast).

But very often, with longer works, I tend to go for a very specific vibe, often tied to a subgenre/mix of subgenres that I find intriguing. Obsidian and Blood was explicitly conceived as a series of noir mysteries/fantasies featuring Aztec culture (and in particular Aztec magic derived from blood sacrifices).

The vibe is the dominant mood of a setting for me: for instance, Xuya, my Vietnamese space opera universe, is heavily focused on families and interpersonal relationships, and on the intersections of tradition and science. It gives a certain… tone to the stories? I’m not saying they’re all comedies or tragedies! But rather that they have a certain thematic focus on families and daily life, and that they also have an accompanying tone (what I think of as “quiet”, “intimate” stories rather than large-scales ones). They’re very different beasts from Dominion of the Fallen stories/novels.

Dominion of the Fallen (my series which started with The House of Shattered Wings, and which I’m working on at the moment) is a decadent/post-apocalyptic series set in a Paris devastated by a magical war. The thematic focus is the mechanics of survival/the impossible choices faced in a resource-scarce environment, and the tone is (grim)dark. Even in the short story “Of Books, and Earth, and Courtship” (an adventure/caper featuring two characters who fall in love with each other), the setting is never free of I think of as “grimdark 19th Century”: huge social injustices, an omnipresent colonial mindset, and oppressive, cruel characters in positions of power. In that story, it’s background, and not the main focus of the narrative, but it’s still there.

Once I have a setting, I research a lot. I tend to pick time periods that I think will be relevant: for Xuya, it’s 19th-Century/early-20th Vietnam (which serves as the basis for an intergalactic empire based on Vietnamese culture). For The House of Shattered Wings, I researched Belle Epoque Paris, as well as the history of colonies in both World Wars/colonial immigration to France in the first half of the 20th Century. I read fiction from the time period, non-fiction on it, and other media I find interesting (amusingly, for The House of Shattered Wings, I ended up drawing on a lot of anime, both set in Western-inspired worlds, and in post-apocalyptic settings: Black Butler, Full Metal Alchemist, Ergo Proxy).

This gives me what I think of as the base. The base is the backdrop against which the characters move: it’s both the physical settings (a Vietnamese pagoda orbital is very different from a magically nuked Notre-Dame) and the resulting mindsets of characters. Mindset being very important to me, because otherwise everyone ends up feeling like 21st-Century French characters in period costumes. For instance, in Xuya, familial ties and ancestor worship are very important: characters always know who is eldest/youngest in a relationship. In Dominion of the Fallen, the mindset is pragmatic: it’s not so much what you do, as what you can get away with–all hidden under a thin veneer of politeness and courtesy that preserves an increasingly fragile social order.

I need to know this in order to know about my characters: how usual or unusual they are, against accepted norms. A Xuya character with no respect for their parents, for instance, is wildly outside the norm and possibly a bit of a pariah because of this. And Madeleine, a character in The House of Shattered Wings, is what we would think of, today, as a decent character who tries to do the right thing: in that universe, however, she is widely viewed as being too naive and principled to survive.

I then get the plot in a sort of organic fashion from the worldbuilding: after all of this work,I generally have strong images and ideas for scenes that I slowly string together until it (hopefully) coalesces into something that makes sense! And, lately, about halfway through writing the book, I will pause and look again at the plot on the basis of what’s been written so far, to see if the extra worldbuilding I improvised as I was writing has shaken loose any ideas.

You’re going to point out this method leaves little room for improvisation. Actually, it does! I like having a large chunk of the worldbuilding while in planning stages (because I’m lazy and it’s cheaper to do it early), but there’s also a significant portion that gets added in/changed as I’m writing, because I can’t plan everything in advance.

It can be small things, or large ones: a lot of it is details, which have to be congruent with the larger setting. I agonise over small throwaway things, like the exact name for a low-level servant in my alternate universe (where domestic service isn’t gendered, so “maid” isn’t going to work), or where people get their running water from to wash their laundry (which turns out to be trickier than you think in a city where the Seine has turned dark and rather… aggressive). Some of it comes straightaway without much effort, and some of it comes from research: one particular scene ended up having lush, green gardens because the name of the place evoked something I’d seen elsewhere.

So my worldbuilding process looks a bit like this:

1. Get a high-level concept
2. Research, research, research
3. Get images, ideas and snippets from research
4. Create a plot congruent with the mood of 1.
5. Draft, while improvising missing details (keeping previous steps as an overall guideline)

So that’s my worldbuilding process –or at least, the way I currently do it, because, like anything to do with writing processes, this is always breathing and changing and springing last minute surprises on me!

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KE: Many, many thanks to Aliette for a fantastic and illuminating post. It’s so important to see how varied and adaptive the writing process is. Remember: The goal is to figure out WHAT WORKS FOR YOU (and what works for the current project).

Next week: The Map As Theory
Previously: Introduction, The Flowering of an Image, Inductive or Deductive, Image to Idea: A Practical Example

World Building Wednesday: A series of short posts in which I write about my personal theory of how I approach world building, specifics of things to consider, and practical suggestions on how to use world building in the text. This is not a prescriptive program. I don’t think people must do things the way I do. I talk about my process because it is what I know. That’s it. Short bites: long tail.

This is a long arc discussion of world building, spread over multiple installments throughout 2016 (if all goes as planned). I’m not trying to write 3 pithy posts that encapsulate everything in 1000 words each (although those can be valuable as well). So expect me to take my time as I mosey through my thoughts and my experiences, and trundle in a few guest posts besides so you can get a different perspective on specific topics.

I’ve been thinking for a while of writing a standalone fantasy novel (STOP LAUGHING), one not set in any of my other worlds. I’ve been far too busy working on major projects to have time much less the mental energy and space to start building a new world (except for the space opera I’m working on, on the sly). But a few months ago I got the most basic flickering of an idea, and it occurred to me I could use this image as a practical example to work through.

Therefore, periodically during this series I will drop in a practical example, drawing from the original image and slowly expanding it as an example that will perhaps give some insight into how I work through developing an image-idea into a story-ready narrative foundation.

Here’s the image:

The scene I see in my head is an isolated prison, small but massive, sited on a crag with a single window overlooking a cliff face. A woman of about 40 sits in the most heavily fortified and guarded cell. She is relaxed, thinking intently. Footsteps sound, and she tenses. Chains and bars are shifted, the door opens, and a uniformed man of about her age appears. He is a stranger to her, although she notices that he is handsome. She makes a sardonic comment whose hostility is only mildly veiled. He does not react visibly but informs her with utterly correct and borderline insulting politeness that he is there to escort her to . . . .

Look how many world building elements are already present:

1) Crag and cliff suggest a detail about the physical geography.

2) The prison is isolated, not in the middle of a city or near by or adjacent to a population center.

3) A culture that uses prisons as a means of separating out certain people from the main population. Not every culture uses this form of confinement and separation as punishment or control.

This is a perfect example of how a writer can default to familiar sociocultural systems and not think about why they have included them. As an American writer, it would be easy for me to use a version of how I imagine the US prison system, only set in a fantasy world, and that’s fine, if it is what you specifically want to do. But as an alternative, I might stop here to reconsider what might otherwise become generic details and background.

What does this prison represent? Is it an institutionalized prison system, which presupposes a hierarchy, a bureaucracy, law courts, and officials who work to enforce a legal system that may be just or unjust? Is it the private dungeon of a powerful eminence who can imprison people without fear of repercussion, and if so, what gives this eminence the ability to lock away their enemies? Is it a rebel holdout hiding from the authorities, with a key player from the authority’s camp under their control, for now? Are there gods and monsters? Could it be the local version of a mental institution? Is the person inside being sequestered for their own safety? In what other ways might this scene be explained? Grabbing for the first thing that comes to mind can often limit the setting.

4) The prisoner is deemed dangerous or valuable or a pariah (or some other option). In what manner she is deemed dangerous or valuable or a pariah I don’t yet know.  But think how many angles this question offers.

Is her status and that of the uniformed soldier essentially egalitarian, except he works for the authorities and she was imprisoned because she was working against them? Is the society one in which women have legal inferiority, and she is not considered dangerous in and of herself but is being held as a hostage to enforce the compliance of a man who is related to her? Yet she hasn’t been placed under genteel house arrest as would be the case in a world in which women can be more easily subdued by social means or are perceived as not capable of being powerful or valuable enough to need locking up under heavy guard in isolation, whether because of their own power or the power of the people who may want them back.

Possibly her gender has nothing to do with her being locked up or the circumstances of how she has been locked up. Perhaps her religion or ethnicity or class is the key, or a monstrous crime she has committed, or her work as a rebel against the authorities, or her position as an architect of the authority that the oppressed are rebelling against.

5) A man in uniform suggests a bureaucratic social structure. I don’t generally think of scrappy rebels as wearing elaborate uniforms, but maybe they do. I am 100% certain he does not work AT the prison but is an outside person come to the prison with the express purpose of moving her to somewhere else or because her help is needed in solving some problem. So his uniform has already started pushing my head to see this place as representative of a fairly rigid top-down centralized government of some sort that runs this prison, and has imprisoned her for unspecified reasons. But I might change my mind later as I get more information.

6) She reacts to the uniform, not to the man. Therefore there is a bad history there between her and the people who wear those uniforms.

7) She is in solitary confinement. Character-wise, being alone does not bother her, and also suggests at the very least that she finds solitude preferable to being in proximity with the other people and/or guards in this prison.

8) Sardonic comments and politely-veiled hostility between the two characters suggests the potential for sparks to fly. The default here is a heterosexual romance, and I feel I may be headed that way.

9) Will I ever get tired of the trope of men in uniform (or at the very least great clothes)? Evidently not.

10) Thinking about who she is and why she might be in prison and why she might distrust the uniformed man (beyond the obvious reason that he represents her jailers), and why he might display immediate (therefore predetermined) hostility to her, makes me think about what she has been doing during the months or years she has been stuck in the cell. So I tease out a few more details, to try and get my bearings.

The cell is furnished with a simple wood bed, a covered chamber pot, a stand with a wash basin and pitcher, and a small table with a single chair. She is relaxed, thinking intently, and has positioned the table so the angle of light from the air vents in the wall illuminates the tabletop, her hands, ink and quill pen, and a pile of paper, some blank, some tightly filled with a painstakingly precise handwriting and various diagrams.

It is right about here that I realize I want to create a variation on the Prometheus story. I don’t know how or when or why, but that’s the seed of it: The woman being held in prison has done something the Authorities really did not want her to do that involved giving knowledge or skills to people the Authorities never wanted to have that knowledge but can’t take back. Now an outside circumstance has forced the Authorities’ hand: They need her help.

This gives me a conflict. In fact, it is a nested conflict, in which an earlier conflict drives the current conflict. But it also throws up in the air all kinds of questions about the setting. Those will have to be for the next episode of “From Image to Idea,” coming later, whenever I feel it fits in the series.

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Next week: Either a guest post from Aliette de Bodard as a companion piece to Inductive vs Deductive (because she works in the opposite manner to me and I think it is always useful to get another angle)

or

The Map As Theory (if Aliette’s post isn’t ready)

Previously: Introduction, The Flowering of an Image, Inductive or Deductive