Writing in Layers to Avoid the Pressure of a Perfect First Draft (Lizzie)

I don’t like the idea of crummy first drafts. I like my work in decent shape at the end of the first draft. Consequently, writing the first draft intimidates me and takes a long time (a lot of wasted time while I stare at the screen too). I’m in the process of writing book 2 in a series and have lots of other books pressing on me, so I’m trying to write fast and be more dedicated to actually writing every day (not just editing and staring at the screen, my stalling techniques). Aside from the discipline of writing six days a week, one thing that has really helped me get past my fear and the stress of the writing not being good enough is to give myself permission to write in layers.

What I mean is that I am basically going through a crummy rough draft phase followed by multiple revisions—but for scenes or chapters instead of the whole book. This prevents me from feeling like I need to redo an entire book; it also lets me develop the characters and plot more slowly, more thoughtfully, and hopefully, better, than rushing through the entire draft would.

Trying to get a near-perfect first draft puts way too much pressure on me as I sit down to right—because this involves not only getting the action right but also the character and setting descriptions, the character motivation and goals, the dialogue, the beats and transitions, and the writing itself. All at once. That’s a lot to do! It’s little wonder I freeze up when I try to do that.

But when I give myself permission to focus on just spitting out the action, with minimal descriptions, skipping dialogue, action beats, or whatever else doesn’t come easily, I get out the bones of a scene I can then go back to and fill in. Or if the dialogue is flowing but I am not sure of the setting details or the beats, I can just write the dialogue and later give thought to the other—let myself picture the scene while doing the dishes and then go back and add that in. I can get out the bones of a scene or chapter one day, then add in another layer the next day, making sure, less-stressful progress. 

Here's more on what writing in layers looks like.

Writing in Layers

**As a note, I am a connect-the-dots writer. I have a general outline in mind, know a bit about the characters, and have certain scenes already fleshed out in my mind that I just need to connect. I learn more about the characters and plot as I write and adjust accordingly.**


1) Visual the scene—who, where, what happens, why

2a) Write down the basics of whatever element is strongest—set a timer and just write, even if it feels more like taking notes than writing a cohesive scene. Taking notes is fine! It’s your foundational layer. It can be just the general action of the scene, the dialogue, or the setting. Or a mix of the three. Just getting the bones on paper counts as your daily writing.

2b) Write notes for any scene that you find playing in your head. It doesn’t have to be the next scene in the book. Any scene counts toward your daily writing goal. I write in Scrivener, so I can easily set up chapters and scenes and just add the notes to whatever document I need to, even if it’s five chapters ahead of where I am in my consecutive writing. It gives me something to work toward—a dot to connect to. I also know I’ll have an easier day when I get to that scene, since part of the work is already done. So writing in layers also allows non-consecutive writing.

3) Consider the scene itself and decide what comes next. Once you have the bones, consider the scene in light of the characters and the rest of the novel. What’s the next logical thing for the characters to do? Jot it down to help you get started for the next scene, for when it’s time to move on. Ask how can I make this scene fun or unexpected? (What would make you excited to write the scene—the humor, the surprise you’re building in, the change in the character relationship?) What challenge to the goal can I throw in, if I don’t already have one? Also, did I learn anything unexpected about the character or something important to the plot?

Start thinking about the next layer to add—dialogue, setting details, etc.—as you walk, do dishes, and so on. Giving your mind time to process things—especially allowing it to sleep on a question—helps. One of my college professors recommended doing most of your studying two to three days ahead of a test, then only reviewing the night before (and getting a good night’s rest), because the mind needs time to process the information. The “sleep on it” advice for making decision also comes into play since every word is a decision

4) Fill in another layer. The next day, go back and add another layer to the scene. Take your “scene considerations” into consideration and fill in at least one aspect—say, setting details. Or maybe refine character thoughts and motivation based on what you learned while writing the scene. You don’t have to fix everything, but add in at least one layer, and then consider your goal met.

5) The next day, add another layer. Fill in missing beats, transitions, descriptions, and brush up the writing a bit, if you want.

6) Move on to your next scene. Don’t spend too long on any one scene. Three days ought to be enough, and resist the urge to make the writing perfect. That should be a separate pass altogether since you will likely discover something later on that require you to change details in the earlier scenes. Editing is also a different mindset from the creative one, so try to stay in the creative mindset for the first draft. A little polishing is okay, but not too much. Polishing and “re-reading to get into the mood” are classic stalling techniques. A little is okay but recognize when you’re doing them for the wrong reasons. If you’re stalling, have a hard talk with yourself and then go write. Writing notes isn’t that hard. You can revise tomorrow! Add in another layer tomorrow!

7) Complete and double-check. When your novel is complete, go back and make sure the overall structure and character arcs are correct (they should be since you’ve been thinking about throughout the process). Go back and fill in any details you may have left for later and do a general polish of it. Let it rest for a few weeks or more, then start the revision process with fresh eyes.




I write fantasy and steampunk with lots of characters and magic and world building rules to consider. Writing in layers helps me figure it all out over time, scene by scene or chapter by chapter, giving me a presentable first draft, rather than forcing me to speed through a crummy first draft I might have to redo large sections of because I messed up character motivation or something else. If you’ve been having trouble making progress because of the pressure of writing a good first draft, I hope this methods helps you. Do you have a favorite method of writing?

You Have to Start Somewhere by Special Guest Lydia Jane

Friends!! We have a guest post with some fantastic writing tips today, AND we have exciting news! We are thrilled to welcome Lydia Jane to Lands Uncharted - not only as a special guest, but as our newest contributor! Lydia is an Associate Editor for Monster Ivy Publishing and will be sharing her encouragement, writing tips, and knowledge of the publishing industry in her new section of the blog, Editor's Alley! (Find out more on her bio page.) Welcome, Lydia!!

You Have to Start Somewhere

How Should I Begin? 

You’re snuggled up in your favorite spot. In one hand, you swirl a mug filled with something rich, aromatic, and caffeinated. With the other, you rifle through page after page of notes. No more procrastinating. You’re finally going to do it. You’re officially starting your first draft. Yet, as your fingertips arc over the keyboard, everything goes blank. Hours pass. Before you know it, you find yourself scrolling through memes while binge-watching a show you’ve seen a hundred times. And, in the background, the document remains open. Empty. Its blinking cursor still longing to taste your first choice words.

Beginnings are tough. Especially in fantasy. Not only do you have to introduce characters, setting, structure, and narrative, but in many cases, you have to build a whole new world from scratch that no one has seen before. With so many pieces to juggle, your plot can easily get lost in the details.

So how should you start your story? Whether you’re a pantser or a plotter, of if you prefer to write your beginning chapters first or last, here are some pointers to help get those creative juices flowing:

Use the Familiar: 

Instead of trying to reinvent the wheel, start with something familiar and make it your own. Whether your target audience is Middle Grade, Young Adult, or Adult, using well-known tropes or story structures is a quick and easy way to help expedite the process of world building. For inspiration, seek out and study other novels that match your story, target audience, and style. This way, you can establish a solid framework for your beginning, blending together a delicious mixture of your own creativity alongside nostalgic story-beats.

Some classic approaches to fantasy beginnings include:

The Prologue/Preview: There’s no shame in a classic fleshed out prologue or one-page preview. These can be effective tools, allowing you to provide a taste of your world, history, background, and rules. You can even use this format to deceive your reader and give them a false version of events, building up to the truth later.

Before the Storm: Open with an idyllic scene where everything seems perfect. Then, unleash the storm, forcing your characters to suffer tragedy after tragedy.

In the Middle: Throw the reader straight into the middle of a conflict, whether physical, emotional, or both. Some classic “In the Middle” openers include things like chase scenes, battles, action set-pieces, or emotional climaxes.

The Aftermath: Start by showing your character suffering from the consequences of a dramatic event. Then either travel back in time to tell the story up to this point, or move forward, showing how the character will overcome their circumstances.

Winds of Change: Begin with a character living life in monotonous or miserable circumstances, then introduce a plot device that brings the character much-needed change or hope.

Craft Your Tone: 

How do you want the reader to feel at the start of your story? Excited? Anxious? Sad? Whimsical? Focus on the tone you’re going for and let everything (from the setting to the characters, to the very mood of your piece) emulate this specific emotion and voice. Don’t tell your audience that things are bad or that they should feel miserable, show them how terrible things are and make them feel misery. One of the easiest ways to craft tone is to determine your starting point, then decide whether you want the emotional tone of the narrative to rise or fall.

Two of the classic styles of tonal direction include:

The Comedy: where the story, setting, and characters start in tragic conditions, then things take a turn for the better.

The Tragedy: where the story, setting, and characters start in ideal conditions, then things take a turn for the worse.

Set the Pace 

Creating a narrative that has a steady, but exciting pace can be incredibly difficult. Here are a few points to help you maintain momentum:

Keep Tension High: No matter how you choose to end your first few chapters, always make sure something is left unresolved. If you character has something they desire, prevent them from gaining it. If the plot has a goal to achieve, make it fail. Build up the challenges for the protagonist to overcome at the beginning, that way when they finally achieve their goals at the end, the pay-off will satisfy your readers.

Create a Chain-Reaction or Domino Effect: For this, make sure that plot devices, characters, story beats, and events have a noticeable impact from chapter to chapter. Weave together a sense of continuity. Create a snowball effect, where the plot points you introduce begin to build on top of each other, resulting in even greater consequences with each new chapter. This will maintain your momentum as you work your way up to your central conflict and climax.

Trim the Fat: If the scene is not essential to the plot or to the individual character arcs, cut it. If there is description or information repeated several times, cut it. If you can convey the same sentence or paragraph in a more concise manner, then trim it down. This is one of the most difficult things to do, but it will ultimately streamline your plot and prevent the story from dragging.

Limit Flashbacks: Unless your narrative is built on traveling back and forth to different points in the story’s timeline, reduce the number of flashbacks and backstory. Large chunks of backstory can interrupt the present narrative, slowing down the present story line to a crawl. Instead, strive to show information from the past in the present, so that the timeline continues along a linear path that keeps your reader engaged and moving forward.

Find Your Voice 

Express yourself. Dig down deep and uncover the most raw essence of your emotions, thoughts, experiences. Throw in all your favorite vocabulary words. Personalize each character so they pop off the page. Bring in as much of your personality to the narrative as possible. Because your voice will ring louder and truer than any trope or classic theme.

Write, Write, Write 

And when in doubt, just write. Even if it’s the most cliché writing in the world. Even if the words make you want to cry, write it down. You can also go back later to polish and refine. But you can’t perfect what isn’t written. Even if all you have to start with is “Once upon a time,” go for it. After all, you have to start somewhere. So, what are you waiting for? Go forth and let your own story begin!

Three Benefits of Time Traveling as a Writer (Lizzie)

"Nobody calls me chicken!" Marty McFly is famous for saying--in the past and in the future. Maybe, the present as well. Not being chicken either (at least in some things), I recently took a trip back to the past in my writing: I re-read my short story "How to Hide a Prince" from Tales of Ever After. For a writer, it can be dangerous to read old work. You can fall into the black pit of ERRORS, the swamp of  I WISH I'D SAID THAT DIFFERENTLY, or the deceptive, inescapable mist of LOOK HOW GOOD I AM--NO FURTHER EFFORT IS NEEDED.

A wise traveler, however, recognizes those dangerous paths and avoids them, but doesn't avoid travelling altogether. Three very important things can be gleaned from returning to older works.

Three Benefits of Time Traveling as a Writer

1) It crystallize your brand.

What did you like about your story? What did others like? Or not like? For me, I enjoyed in my re-read, and others have commented on, banter between the hero and heroine, lyrical prose, and a happily-ever-after ending. Basically, I tell stories with adventure, humor, romance, and pretty writing. Those are things I want to be known for, but they don't always come naturally (especially when I'm focused on character development or working out a complicated plot), so I have to consciously include them.

2) It reveals your strengths and where you've improved or lost ground. 

Writers change and grow, so a strength you had in one novel doesn't necessarily transfer to the future ones. My first full-length novel was really fairly easy to write. Because it was about the enchantress from the Beauty and the Beast story, the plot was already pretty much structured for me. The main character came out strong and was easy to write. I had time to focus on lyrical prose. But with my next two stories, I used two POVs instead of one, the plots weren't obvious and were much more complicated, the characters didn't come so easily. My lyrical prose suffered because I was focused on those other issues. So ask where you may have slipped in your work to improve other areas.

3) It affirms your calling.

You should enjoy re-reading your old works. That's not to say you think them all perfect, but they should still give you some pleasure. You should recognize some strengths or areas where you've improved or a character you particularly liked. If you don't get any enjoyment from reading old works, if you think them all trash, then maybe writing is not your calling after all, but merely something you can do and not something you should do. Or maybe you've been writing the wrong stories, writing contemporary romance, for instance, because you think it will sell better and you're afraid of the research needed to write the historical fiction you love. All that said, I really hope you enjoy re-reading your old work.

In conclusion, visiting old works gives you a map to a better future: a clearer idea of who you are as a writer (your brand) and how you can improve.

Do you re-reading old works? Has it helped you?

Culture and Worldview, Part 1 (Hannah)

Back in April, I wrote a post asking what the foundation is for your character's worldview.  The thing is, characters aren't the only ones whose actions and beliefs are determined by what they "worship," or what they have devoted their lives to.  Groups of people, indeed, entire societies are driven by collective goals and opinions, ways of life and priorities.  When developing a culture, whether it is a small-scale subculture or an entire nation, it is important to ask what these people hold most valuable.

• Is there a common religion?
• Are there prevailing philosophies that drive most of the people?
• Is there a long-established social structure, like a feudal or caste system?
• Are certain professions or occupations or positions respected above others?
• How do the wealthiest or most prominent in society display their prestige?
• What are the biggest, prettiest, most central buildings in the city devoted to?
• What do the majority of children dream of being when they grow up?
• What skills or talents are highly prized?
• Who provides a highly desired or necessary commodity?
• What character traits or qualities do parents teach their children?

The answers to these questions help identify or solidify what your society as a whole values.  If you are looking to build consistency in your world, the prevailing values will bleed into nearly every aspect of life, from the way children are raised to what is considered proper behavior to the social structure to holidays and celebrations and beyond.

This post turned out a lot longer than I expected, so I'll talk about my first point today and finish up next time.

1. Deities and Philosophies

The most obvious expression of values is through religion and philosophy.  For example, one glance at the gods of ancient Egypt reveals that there were far more gods related to death than any other subject.  Death and the afterlife was very important to the Egyptians, as evidenced by their massive pyramids and elaborate embalming rituals.  In contrast, Norse mythology shows a heavy focus on war-related deities.  Not only were there so many of them, but they were the most powerful and highly revered.  In fact, the Norse believed that the only honorable way to die was in battle.  The gods people worship say a lot about the culture, but it is also important to look at how the people honored their gods.  Did they make animal or human sacrifices?  Did they build magnificent, extravagant places of worship, or give everything away and live in poverty?  What everyday rituals did they observe to remind themselves what they believed in?

Religion and philosophy would often carry the most influence over society.  In early Greece, people believed different deities were patrons of certain cities.  The people of Athens, for example, worshipped Athena, the goddess of wisdom, craftsmanship, and learning, among other things.  Their city was a center of philosophy, teaching, art, and great thinking, because the people sought to honor their favorite goddess.  Similarly, the Stoic philosophy of Roman Greece swept Greece and Rome and taught that people could attain true happiness by seeking to view the world through logic, ignoring destructive and deceptive emotions, living virtuously and simply, and finding the good in every moment instead of desiring something besides what you have.

Again and again through history, it is easy to see how religious and philosophical beliefs have affected societies and cultures.  Even one person, if he can make his voice heard, can steer the course of a nation by spreading his ideas.  In fiction, it is important to remember the power of ideas, and not neglect them in the development of your societies.

On a related note, it is important to remember how quickly prevailing ideas can change, and take into account people's natural inclination toward new ideas and constant change.  A group of people stuck in "survival mode," as my mom calls it, and struggling to survive, may hold to the same way of life and belief system for a thousand years.  But all you have to do is take a peek at the history of art and philosophy between 1400 and 1800 AD to realize that a flourishing, thinking, creative society can move and change quickly. For another example, think about the last 100 years in America.  From just one decade to the next, how much stayed the same?  Not fashion, music, and art, not opinions on major social issues at home or abroad, not even religious and ethical beliefs.   Fantasy writers have a tendency to set up societies that cling to the same exact values for centuries.  Unless there is a good reason for this, consider how your culture will change with each new generation.  

• What are the prevailing religious beliefs of your culture?
• How is loyalty to the deity/s displayed in architecture, practices, and government?
• What is the role of philosophy in your society?
• What philosophies are prominent?
• How have religious or philosophical views changed - or not changed?
• If they have not changed, why not?

Thanks for reading!

~ Hannah

Writing How People Talk (Hannah)

For the last few weeks, one particular technique has been on my mind: writing character speech.  Setting, plot, character, and theme are the cornerstones of storytelling, but those can only be expressed through the writing skills: narrative, description, internal thoughts, and especially dialogue.  One of the easiest ways to introduce or develop a character is to use dialogue, especially if you don't have very many point-of-view (POV) characters.

Most people have an instinctive knowledge of how dialogue works.  After all, most of us speak to other people on a regular basis.  Because of that, it doesn't seem too hard to write plausible dialogue and have it turn out well.  And honestly, it isn't that difficult.  The part that is very hard for me is tweaking each character's speech so that it is unique.  It is said that readers should be able to tell which character is speaking without any dialogue tags because each character has a very distinctive speech pattern.  I don't know if I quite agree with that, and I know I certainly haven't been able to pull it off, but the point stands that each character should talk differently.  It makes sense - no two people sound the same when they speak, whether it is because of their accents, word choices, subject choices, opinions, sense of humor, or any other verbal tics that fit them.

TV shows and movies are great places to study dialogue, since they do not usually have the benefit of constant narration or internal observation.  They have to rely on dialogue alone to convey who their characters are.  However, they have several tools that writers don't.  Tone of voice, speed of speech, and delivery from actors can completely change the meaning behind the words actually being spoken.  Accents and odd speech patterns can be conveyed more clearly and less obtrusively.  Slang and "lazy speech" (words like "gonna") are much easier to use without drawing too much attention.  Still, tv and movies can be good tools for in-house people watching.  In other words, they are perfect for allowing yourself to be exposed to many different mannerisms and speech patterns, to absorb dialogue different from what is familiar and expand your tool set.

When I think about my favorite tv characters, I can usually hear their voices and speech patterns.  I know how they talk.  What I want is to know my own characters well enough that I can instinctively feel what they will say and how they will say it, and they don't talk exactly like I do all the time. I've had friends tell me that what I've written seems far too "modern" sounding for my setting.  I've had to rewrite entire passages because I realized later that a character would not actually talk like I had originally written.  In fact, early on in drafting the course of my story was changed because I thought I would steer my characters in one direction, but over the course of the conversation they came to a conclusion other than the one I had intended.  It turned out to be a great blessing for my story, thankfully, but it illustrates how difficult it can be to keep character speech consistent and distinctive.  

Ultimately, I've found the best way to keep voices straight is to teach myself to hear them.  Last year, I took a class on Shakespeare and his writings.  I read many of his plays, watched movies of the plays, and even memorized large portions of them to perform for my class.  I was saturated with Shakespeare.  So, surprise, I started to pick up some of the speech and mannerisms I was immersed in.  I thought in Shakespearean English, read it just as easily as I do modern English, and even wrote a poem that sounded very much like Shakespeare.  (I worked very hard not to actually speak like Shakespeare, but I could have if I wanted to.) In a similar manner, I have found that reading or listening to someone whose speech is similar to what I want for my character is a great way to teach myself to hear the dialogue the way it should be.

I am hardly a master at this technique, which is why I am writing about it now.  It's a learning process for me, and one that has actually been really fun as well as a bit frustrating and very difficult.  Have you ever made a conscious effort to keep your characters from sounding the same?  What ways have you found to keep character voices distinct?  I am very curious to hear what others have done with their characters' voices!

For those of you who aren't writers: Have you ever paid attention to how characters in fiction speak?  Did you ever feel like certain characters had distinctive speech patterns that you could recognize anywhere?  Do you have any favorites? 

Thanks for reading!

~ Hannah

Real Characters Wear Quirks (Hannah)

Hannah: Quick, Reni, tell everyone what I’ve been working on recently with my characters!

Reni: Next time, give me a heads up… Are you referring to quirks?

Hannah: Exactly! And now tell everyone what a quirk is!

Reni: Uh…

Hannah: Too late! For writers, quirks are traits, interests, or behavioral peculiarities that don’t seem to fit with what you would expect from a given character and make that character unique. For example, in Star Trek: The Next Generation, the android named Data wants to appreciate art, so he dabbles in painting, music, and acting. Hey Reni, do you have any quirks?

Reni: I don’t think so.

Hannah: I know you do! Share?

Reni: *Sigh* Fine. I love geckos and think they’re really cute.

Hannah: …Well… I know you have more, but since you’re obviously shy, we can move on to other characters’ quirks for now. 

Quirks and interests help make a character more complex, more engaging, and more realistic. They are especially effective if they are unrelated to the character’s main characteristics, or are only tangentially related. I ignored the needs for quirks for a long time. I understood their value but could never seem to come up with really good ones for my characters. I tend to think very linearly, and want every aspect of a character to be consistent, so I have a hard time tacking on traits and interests that don’t seem to fit. It’s been one of my weak points for a long time, but one of my writing friends is the exact opposite – she builds each character around its quirks.

This is an issue that’s been on my mind recently because I am trying to improve my ability to use quirks skillfully. Did you notice up above I said I was no good at tacking on quirks that don’t fit? That statement represents the problem I’ve been having. I build characters by starting from a single point and developing out from there. Quirks by their very definition have to be independent of that starting point, which is why I have been having so much trouble, and also why they are so valuable.

If you can reduce a character to the single starting point, then chances are that character is not as complex as it could be. Once you have two or more unrelated or possibly conflicting starting points for a character, you suddenly have complexity, layers, and room for character development. Sometimes you can explain seemingly random quirks and make them perfectly sensible according to the character’s development, but sometimes quirks are just there for no good reason at all except to add flavor and interest.

Either way, adding a couple of quirks to a character can work wonders for making him interesting, unique, and memorable. For a long time, I didn’t notice how quirky my favorite characters are, but now that I am paying attention, I can see that the ones who stand out among the myriad of characters I have come to know are the ones who had something special, something unexpected, something out of the ordinary… in other words, a quirk.

Here are two characters in particular that have taught me something about improving characters with quirks.

Celaena Sardothien

The main character of Sarah J. Maas’ Throne of Glass, Celaena Sardothien, reminded me that the majority of real people are not defined by a single interest. Their essential character cannot be summed up in a sentence or two, and rarely do they only care about things directly related to their work. Fictional characters should follow the pattern of real human beings and avoid this type of simplification as well. Maas gave Celaena quirks, interests, or hobbies that were completely unrelated to her role in the story and it added so much life to Celaena.

Celaena is a woman of many interests. She is a skilled assassin in service to Prince Dorian and assigned to compete in a competition to become the king’s champion, but the way her character developed beyond this is what made her feel so real to me. Her love of books served the plot well by giving her a way to acquire new and important information for solving the mystery that arises. Her interest in reading helps her make friends with Dorian and Nehemia, the rebel princess. Despite (or perhaps because of) her difficult childhood, Celaena also loves high society and is particularly enthralled by the many beautiful dresses available to her. This vanity turns out to be a character flaw but still serves to add memorable dimension in an unexpected direction.

What I remember most about her is her love of music. To her, it is a deeply personal expression of everything that matters to her – her surrogate family, her late best friend, and who she was before she was betrayed. Though it is only vaguely explained in the first book, there is a lot of room for this particular side of her to be explored and expanded in the future.

Celaena felt like a woman with so much more to her than her job – she felt like a real person. Getting to know all of her quirks and the stories behind them felt like getting to know a new friend, and the variety of interests and desires kept the story from going in a straight line. Maas used quirks to bring her character to life.

Eliot Spencer

The TV show Leverage’s Eliot Spencer is a character who was created to fill a role but developed into so much more thanks to his quirks. It’s easy to define a character by his role. Especially in a show about an ensemble, where the whole dynamic of the show revolves around the character’s role, it can be difficult to look past the defining characteristic and find the other interests and quirks. Eliot is the team’s hitter – it says so right in the opening. His job is to protect his teammates and handle any violent situations that come up. Unsurprisingly, he’s really good at it, and loves it a lot. His affinity for violence shows up in every single episode, thanks to his job description. But if everything he did directly related to his violent nature, he would be a pretty flat character.

Thankfully, that isn’t the case. Eliot also shows a surprisingly high interest in gourmet food and takes it very seriously, and is a classically trained chef himself. This side of him doesn’t show up in every episode – in fact, it’s probably about once every six to eight episodes. Still, it is used in many different ways to show hidden sides of Eliot and send the plot in unexpected directions.

The importance of good food to Eliot is played for drama in one episode, where he is pretending to be the chef for a wedding in order to help with a con. Instead, he gets so caught up in cooking that he pretty much completely ignores the job he is really supposed to be doing and only ends up contributing because the bad guys wandered into his kitchen and attacked him. In another episode, the way he is serious about food is used for comedy when a gourmet sandwich he made goes missing, and he thinks his friend and coworker is responsible. In the last season of the show, his love of cooking is used to show a more tender side of him. He reveals that learning to cook was the first time he realized his knife skills could be used for beauty instead of violence, to create instead of destroy, and sustain life instead of taking it. An unexplained quirk of his eventually led to a deeper understanding of him as a real (if fictional) person, instead of a character designed to fill a role.

-------------------- 

Still, if you have trouble coming up with sufficiently random quirks, I have a couple of suggestions. I have used generators (quirk generator and interest generator) to give me completely random features, and then brainstormed ways to work those into the character believably. It’s amazing how well this works with a little bit of creativity. Another way to do this is go to Wikipedia, click the “random page” button, and then somehow look for a way to relate that to your character. These exercises can be fun and helpful, but don’t get carried away adding too many random traits.

Another trick I’ve used is to take a favorite character and list out 1) anything that makes him from other, similar characters, and 2) anything that at first glance doesn’t seem to fit. (Leverage managed to create a master con artist who can’t act on stage to save her life, and make it believable, funny, and meaningful. But when my uncle first told me she was a con artist who couldn’t act, I couldn’t reconcile the two. Therefore, I would consider this a quirk.) Studying how your favorite writers use quirks can help you learn a lot, and maybe help come up with some ideas for your own characters.

I also have many other resources that have helped me, and links to those pages are all over this blog post and also gathered at the end.

• What traits or interests does your character have that don’t seem to like up with the rest of his personality? 
• Are there any quirks that seem completely contradictory to your character’s role or personality that you could try out? (Remember the con artist who can’t act?) 
• How can you use your character’s quirks to send the plot in unexpected directions or create exciting new scenarios? 
• What are some quirks that make your favorite characters particularly meaningful?

Thanks for reading!  As always, questions, comments, opinions, and ideas are always welcome in the comments. If there is any particular topic that would help you in your worldbuilding, please go ahead and mention it down below. I always want to write posts that are useful and interesting, so request away!

~ Hannah

Other Resources
Note: Offsite resources might contain mild swearing.  I apologize for that.

• The Difference Between Habits and Quirks
• 50 Suggestions for Quirks
• Avoiding One-Dimensional Characters
• Use Character Quirks to Grab Readers' Attention
• Is a Quirk Just What Your Character Needs?
• Quirk Generator and Interest Generator

Attributions:

Sarah J. Maas' Throne of Glass: http://sarahjmaas.com/wp-content/uploads/2015/06/TOG-NYT-Cover.jpg

Leverage's Eliot: http://i265.photobucket.com/albums/ii216/petiterach15/Leverage/tv_leverage03.jpg

Write Anyway! (Hannah)

As we near the end of the school year, my life is extremely busy, leaving little time for hobbies and other non-scholarly pursuits.  Like writing.  And blogging.  So I apologize in advance - today's post is not going to be an in depth article on worldbuilding.

Instead, I want to encourage you to write even if your schedule is busy.  Even in the most stressful times, when you are cramming for finals or struggling to get everything finished on time, or perhaps just trying to keep up with all the plans and schedules that have been made for you, it is not good or healthy to focus solely on your responsibilities.  Over time, your productivity will decrease, you will grow even more stressed, and it may be difficult to find the motivation to keep going.  

Instead, take a few minutes to do something you love.  Even better, take a few minutes to write.  Just a half an hour or so can be relaxing, help give your mind a rest from rigorous tasks, and maybe help you see things in a new light.  Sometimes, creativity is exactly what we need when we are faced with a difficult problem.

So, here is the challenge:

Take 30 minutes to write.

It can be today, over the weekend, or preferably as a bit of a breather between periods of high stress and rigorous work.  I find lunch breaks work well.  

Write something just for fun.

Not all writing is created equal.  Sometimes, planning, plotting, and editing can be just as rigorous and logical as the work you are taking a break from.  Instead, write something purely for enjoyment.  Whether it has to do with your main story or not, it can improve your writing overall.  Be honest: when was the last time you were so caught up in the magic of a story that you couldn't stand to leave?  For me, I mainly find that feeling in the process of putting words on paper and seeing something unfold in front of my eyes.  Planning, plotting, and editing are necessary for polishing, but they aren't nearly as good at stress relief, relaxation, and creativity as the writing itself, at least for me.

What if your main project isn't at a point where you can just write something new?  Then write something else!  Perhaps take your characters and set them up in unlikely scenarios - you will be surprised what you can learn about them.  Maybe a new person encounters your setting.  What about writing a fluff scene between some of your favorite characters, just for fun?  If you are willing to step away from your main project entirely, you are free to scribble down whatever you want.  Perhaps writing something new will open your mind about what you are currently writing.

Don't abandon writing because your schedule gets busy.

Yes, writing can take time away from other things you should be doing.  But if writing is really your passion, then it is a good idea to preserve it, even for just a few minutes every couple of days.  Whenever NaNoWriMo rolls around for me, I get so excited about my story.  I get caught up in the flow of the action, the characters, and the setting all appearing on the page right in front of me as my fingers struggle to keep up with my mind.  And then... Christmas, and school is starting again, and there is always something more urgent than writing.  At least for me, the most revealing fact is that all through November, I'm also studying for midterms, which come in the first week of December.  Somehow, I manage to find time to write 50,000 words in one of my busiest months.  

A big part of that is motivation, and to be honest, I do little besides NaNoWriMo and schoolwork in November, but the point stands - during that one month, I prioritize writing and manage to make it work with my very busy schedule.  Yet, through the rest of the year, whenever things get busy, writing is one of the first things to disappear.  If I am going to call myself a writer, this should not be the case.  Even just a few minutes of writing for fun during lunch or before bed can be enough to keep the excitement going, maintain a habit of writing no matter what, and give me an excuse to unwind while doing something I love.

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Do you have trouble writing when life gets busy?  What do you do to preserve time for your most favorite activities when the rest of your schedule seems to be conspiring against your free time?

Thanks for reading!  As always, questions, comments, opinions, and ideas are always welcome in the comments. If there is any particular topic that would help you in your worldbuilding, please go ahead and mention it down below. I always want to write posts that are useful and interesting, so request away!

~ Hannah

The Right Question for a Character's Foundation (Hannah)

A few weeks ago, in my post on fantasy travel and transportation, I mentioned my love for Bethesda Softworks’ Elder Scrolls games. They are computer role-playing games, which means you get to create a character (or several) and play in the world of Tamriel as that character. Usually when I am creating a character, the first question I ask is “What are her moral and political beliefs?” From there, I can figure out what background would lead to such a worldview, and look ahead to what sort of lifestyle she will have. This question is a great place to start because the character’s worldview colors every other aspect of her life.

But it isn’t the best place to start.

Around Christmastime, one of my friends was creating her first character for the Elder Scrolls, and she asked a question I hadn’t thought of. Or, rather, it was a question I had tacked on to the end of the character-creation process. I wondered why she chose to start there, but pretty soon I realized exactly how important her question really was.

Who or what does your character worship? 

The Elder Scrolls universe is high fantasy and completely separate from earth, and therefore has its own mythology… including many different philosophies, pantheons, and religious groups unique to that world. I had a couple of religious characters, but the question of what each character worshipped didn’t even come up until fairly late in the process. Part of this was because for a long time, my characters only differed in the skills they had and the factions they joined. I didn’t even consider playing a religious character until near the end.

But the issue went deeper than just the way I played the game. It came from a subconscious misunderstanding of worship. Consciously, I know better, but I wasn’t really thinking about it and I slid into an easy – but detrimental – mindset regarding the importance of worship.

What you worship isn’t just a cosmetic thing you add on the end of a character. Worship defines every single aspect of life – morals, beliefs, lifestyle, desires, and priorities. I skipped right to the surface with my “moral and political beliefs” question, but my friend looked deeper, into the very heart and soul of a person. Whether someone is religious or not, what he worships is the foundation of who he is.

What is worship, then? Worship is usually used in a religious context; for example, I worship God. But if it were only a religious thing, then non-religious people would be excluded. In a broader sense, to worship something is to show it your absolute devotion, love, and investment. One of the definitions provided by Google is “adoration or devotion comparable to religious homage, shown toward a person or principle.”

A person who worships a deity of some sort places that deity above everything else, and lives his life in accordance with the nature of the deity. Someone who worships something more tangible, like money, will live his life with money as the top priority. Obviously, his lifestyle will be different to reflect the difference in what is most important to him. Someone might worship a political or philosophical idea, making its realization his life’s goal. Others might idolize work, pleasure, power, prestige, a person or group, or really anything else imaginable. In short, asking what the character worships is asking, “What is the foundation of his entire life?”

This Good Friday, I encourage you to reflect on who or what each of your characters worships, and carefully investigate how that priority colors every other aspect of his life. Then turn this analysis inward. Who or what do you worship? I know for me, as a Christian, it is easy to say I worship God. But too often, I can tell by my lifestyle that God is not really my priority. During those times when I prioritize myself, I have to be careful to remember the One I truly want to worship, and not just live my life aimlessly.

We are building up to Easter, the most important holiday of the year. As you search your characters’ hearts and minds to understand them more fully, take a moment to analyze yourself. Are you ready to celebrate Christ’s resurrection and rejoice in the freedom and grace He offered on that incredible morning?

Thank you for reading!

~ Hannah

Fantasy Travel and Transportation (Hannah)

Hello, everyone, and welcome back to Storytelling Magic! It’s Hannah. When Reni realized she couldn’t write a blog post on her own, she finally let me out… but what she didn’t realize was that as her writer, I have complete control over her life. Those of you who know me know that I can wait days, weeks, and even months to retaliate – but there is no doubt that it will happen eventually. I needed Reni’s traveling experience for my post on transportation, but don’t worry. She will definitely pay for the stunt she pulled as soon as the perfect opportunity arises. 

In the meantime, Reni has been spending a lot of time in Tamriel. Tamriel is the continent that serves as the setting for Bethesda Softworks’ Elder Scrolls series of games. I am a huge fan of the Elder Scrolls series. Call me strange, but I started at Elder Scrolls V: Skyrim, then played IV: Oblivion, and have recently begun III: Morrowind. Though these games are in the same series, they have major differences in graphics, gameplay, storyline, and more. Aside from the user interface, the change that has the biggest effect on the moment-to-moment mechanics is travel. (I promise this is related to worldbuilding, just stick with me!)

I am going to talk about the changes backward, as I experienced them. I know very well that Morrowind was first, but for me personally, Skyrim set the standard. I went from the highly polished, easy-to-play, accessible-for-everyone style of Skyrim to Morrowind, which was much closer in function and mechanics to a tabletop role-playing game. Therefore, for me, it seemed like simple aspects like travel suddenly became much more complex. 

  

Skyrim

In Skyrim, you had several methods of travel available. They were all intuitive – exactly what you would expect.

Method 1: Walk. Duh. This is the most common way to get around. Going from the city of Dawnstar to the city of Windhelm? You can walk there in – oh, 12 minutes of real time. Naturally, I made Reni walk through the freezing cold and fight off all sorts of wild creatures in order to test this.

Reni: You could have just guessed and not made me go through that.

Hannah: Sure, but it was quite a satisfying form of payback. You spend a lot of time in temperate and tropical regions, so a trek through the cold like that was definitely not fun for you.

Reni: You could say that again.

Walking has its advantages, though. The landscape is incredible, and the detail put into every plant, rock, and stream is amazing. The northern lights in the sky at night, the silhouette of a castle on the horizon… To be honest, despite how time consuming it is, I have come to really appreciate the journeys. 

Method 2: Ride a horse.  You can buy a horse in every major city. Horses greatly increase your speed and can allow you to cross terrain you normally couldn’t access on foot. Riding a horse has all of the benefits of walking and is faster. 

Method 3: Boats or carriages. These aren’t anything special and didn’t stick out to me at all. In the three coastal cities, you can find a boat that will instantly transport you to one of the other ports. Every major city has a carriage that will also instantly take you to other cities. Unfortunately, you do have to pay for these services. At least the cost is negligible even from the lowest level. 

Method 4: Fast travel. This is by far the most widely used method. To use this, you just open up your map, select a location you have visited before, and teleport there instantly. Very convenient and completely free.

Oblivion

In Oblivion, you can walk, ride a horse, or fast travel. No major differences from Skyrim. 

Morrowind

Morrowind’s travel system completely threw me for a loop. One change led to a complete overhaul of the travel system: there was no fast travel. Sometimes I play Skyrim where I don’t use fast travel, but still, it was very nice not to have to spend so much time walking around when I was more interested in completing quests or exploring new locations. Morrowind throws that option out the window.

Did you just stumble out of a cave after two hours of clearing it out? Now you have a ten minute walk back to any form of civilization. Do you need to go home to drop your treasure off? Have fun walking the same stretch of road you’ve traveled every other day. Does some quest-giver want you to pick up the mail from a city all the way across the map? Better get moving if you want to do anything else meaningful in the next hour or so.

Thankfully, the game compensates with a highly sophisticated travel system that feels very rewarding, realistic, and otherworldly.

It is a fantasy game, after all.

There are many more methods of travel in Morrowind – 

This is Morrowind's travel map.  It shows about half of the options and where they will take you.

Method 1: Walk. Big surprise, huh? Unlike Skyrim, Morrowind does running a little more realistically. You can’t just run all day every day – it drains all of your energy. And then if you happen to encounter an enemy, you are practically helpless. Thankfully, it actually has a skill dedicated to running. The more you run around, the faster you get and the less energy you expend. If you watch a high level Morrowind character run, you can see it is much more efficient than running in Skyrim. More work up front, bigger payoff at the end – this could be Morrowind’s motto. 

Method 2: Fly. Yes, fly. If you are a powerful enough mage, you can fly everywhere you go. This significantly shortens trips over mountains, winding paths, tall buildings, and more, and it gives you a beautiful bird’s-eye-view of the landscape. In fact, you cannot even travel around the mages’ towers without the ability to fly, because there are no stairs.

Method 3: Boats and silt striders. This is a silt strider: 

It functions similarly to a carriage in Skyrim, but it is much more interesting looking and gives traveling a unique flavor. Boats are just like Skyrim boats, but can reach more than just three cities. These are the most common means of quick travel, but are costly.

Method 4: Almsivi Intervention or Divine Intervention spells. These are related to different religious groups and call upon the power a deity to rescue the character from harm and teleport her to the nearest temple for healing. 

Method 5: Propylon Index. If you find the necessary components, you can use an ancient and abandoned technology to teleport around the map to the other ruins.

There are lots more, but the main point I am trying to make is that the mechanics of travel can drastically change the flavor and function of a fantasy world. Yet, this is one of the things fantasy writers can easily overlook. I know I did, and my story is based on travel! Often, the way your people get around will be directly related to their environment. In a fantasy world, there is a good chance you won’t just have traditional options available.

Think about some other fantasy and science fiction stories. Nearly all space-based stories have spaceships that can travel across galaxies in a negligible amount of time. Anne McCaffrey’s Dragonriders of Pern book series is centered around dragons who can teleport between time and space. Blizzard's StarCraft has nydus worms, which are living creatures that burrow through the ground and become tunnels for other creatures to pass through.  Even real life places like Venice have uncommon methods of travel. How many other cities have streets made out of water?

There are a few things to think about when you are deciding how your characters get around.

What are your species’ built-in travel options?

For example, walking is the standard option that is available to most humans. Birds can walk, but they are better known for flying. Some superheroes can teleport, and others can stick to walls and climb really easily. Whether you are using people or some sort of fantasy race, think about their options before any domestic animals, vehicles, or technology come into play.

How far do your people usually go?

This one is important. My family drives our car everywhere. I can drive twenty minutes to the grocery store or twenty hours to visit out-of-state family and the car is sufficient for both. In many places, that isn’t the case. If you lived in a big city, you might walk or ride the subway most of the time and only drive if you were going somewhere moderately far, or perhaps take a train or a plane if you are going even farther. If you lived in Medieval Europe, you wouldn’t go far outside of your home village anyway so you might just walk everywhere. The pioneers probably walked much of the time, but they used horses and horse- or oxen-drawn carts and wagons for longer trips.

What type of technology is available?

Maybe your culture relies exclusively on animals like horses or camels to travel, and therefore are limited by having to care for a living being on the journey. Maybe they use something similar to modern cars or planes, which are more versatile and lower maintenance than living creatures, but still require a lot of fuel and upkeep. Or maybe you have a futuristic invention like a transporter or a stargate. And of course, don’t forget about magic – anything can happen when magic is involved.

What are the difficulties of crossing your particular landscape?

If your characters need to get from one planet to another, they obviously can’t use a car. They need a spaceship of some sort. You wouldn’t take a horse across the desert, and the pioneers wouldn’t have gotten very far if they had been riding bicycles. What is your biome like?

• Is there a lot of water? Do they need ships that can sail on the ocean, or are they only crossing rivers and lakes? 
• Are there a lot of hills or mountains? What would be effective for navigating these? 
• What about thick forests? 
• Is there snow and ice during certain times of the year? 
• What are some other features of your landscape that could affect travel? 

What options are available for overcoming these difficulties? 

When the Europeans wanted to reach Asia, they found the journey across land was very difficult and dangerous, so they spent the next century or two figuring out how to build better ships, master the natural tools (for example, learning to navigate by the stars), and invented new equipment (like the compass) that would allow them to sail to Asia. If your people want to get somewhere and there is an obstacle, there is a good chance they will innovate and create something that will allow them to overcome the obstacle.

What conventional or unconventional methods fit your criteria? 

In Morrowind, the ash-covered land is riddled with mountains and lava rivers. Horses and other regular animals wouldn’t be very useful there, so the writers invented the silt strider, a giant bug-like creature that can survive the rough terrain.

Are there any other terrain improvements that can help travel?

The Romans built a network of roads, which was a new and effective way of facilitating travel all across the empire. The Transcontinental Railroad, which connected the eastern and western United States by train, was a monumental accomplishment. Morrowind’s propylon chambers were built by an advanced civilization to help people teleport around the island quickly. What have your people done to improve the traveling conditions?

What is required to maintain the method of travel?

Animals need food, water, shelter, and rest. Cars need gas, and occasionally oil, tires, and repairs. Star Trek’s spaceships need dilithium crystals. Are there places along the roads or paths that provide whatever is required, like gas stations? Or are your people more like the pioneers, who had to carry what they needed or find it along the way?

What is the cost of travel?

Whether it is food for your animals, gas for your car, hotel fare for overnight, tolls, or taxes, traveling can be costly – and that’s before you include the cost of whatever animal or vehicle you use. What is the cost of your transportation? Is it like the wild west, where a horse thief could be hanged? Are cars reserved only for the wealthiest elite? Or can anyone hop on a spaceship and find himself halfway across the galaxy for just a small fee?

Is there any outside interference?

Is there a government that regulates how and when people can travel? Do they just make rules for the road or do they have to give permission for someone to move from one place to another? Do they place any taxes or fines on the roads and paths? Are there borders or boundaries people cannot cross, or can only cross under special circumstances or through a long process (for example, going through customs when you enter a new country)? 

Are there guides or caravans that might help travelers navigate certain areas?  Or are there gangs or bandits that are likely to attack travelers, making it necessary to bring along some form of protection or travel in groups?

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The mechanics of travel is an important part of how a civilization functions, and it is especially important to consider if you are writing a “quest” type story like I am, where the characters travel long distances in order to achieve a goal. Just think of the many ways the Fellowship of the Ring got around in Lord of the Rings: they walked, rode horses and ponies, rode on boats, flew on the eagles, and more. There is a lot of walking going on in my story – perhaps I need to brainstorm some more creative ways for my characters to get from one place to another!

Thank you for reading! As always, questions, comments, opinions, and ideas are always welcome in the comments. If there is any particular topic that would help you in your worldbuilding, please go ahead and mention it down below. Reni and I always want to write posts that are useful and interesting, so request away!

Attributions

All screenshots above are taken from The Elder Scrolls III: Morrowind and The Elder Scrolls V: Skyrim, both by Bethesda Softworks.

Morrowind Travel Map: http://www.terminally-incoherent.com/blog/wp-content/uploads/2007/05/fullmap_travelroutes.png

Highlights from MN Writing Workshop 2017 (Erin)

“Write with the door closed, rewrite with the door open. Your stuff starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right — as right as you can, anyway — it belongs to anyone who wants to read it. Or criticize it."

Stephen King

In yet another step on my writing journey, I attended my first writing conference last weekend. A few weeks ago, I told you I was nervous about attending, but my misgivings were unfounded. The high energy of conference participants, the professional and encouraging presentations, and meeting up with fellow MN-NICE author, KaLyn, made the day not just educational, but enjoyable.

The sessions were packed with so much helpful information that I haven't had a chance to process everything yet. I took over 20 pages of notes, and am looking forward to going back over them in small doses, as they are relevant to my work.

However, I want to tell you about the two sessions I found most helpful. The first was a flurry of impromptu pitch rehearsals offered by editor and publisher Madeline Smoot, before she began her presentation on writing young adult and middle grade fiction. I have read about pitches, and talked to other writers about how to pitch, but it was much more helpful to actually see authors give a pitch. Madeline's feedback was kind and encouraging, but also specific. The brave authors who volunteered helped me see how fun and creative pitches can be, and Madeline's suggestions offered an inside perspective into what agents and editors are looking for.

The second session I found immensely valuable was the Page 1 Critique Fest. Perhaps you have been to a session like this before, but in case you haven't, let me explain. Authors were encouraged to bring several copies of the first page of their manuscript. The facilitator distributed a copy of a page to each of the six literary agents on the panel. Then, our facilitator would read the submission aloud. Each agent would raise their hand at the point they would have stopped reading. Once four hands had gone up, an audience member would call "Four" and the facilitator would stop reading. At this point, each agent detailed why they would have stopped reading.

My stomach dropped every time they passed out pages. I am still not sure whether I was hoping the words read would or wouldn't be mine.  Despite the fact my page wasn't selected, the feedback was fascinating. Overall, the agents were looking for energy and adrenaline on the first page. Even if they thought the descriptions were beautiful, they wanted to see action hook the reader first. There is always time to describe later. Also, agents tended to be disappointed if a great first line didn't deliver through the rest of the paragraph or page. Errors in grammar and point of view were distracting, and cliche tropes (new kid in town) and openings (waking up, looking in a mirror, having a dream) didn't hold the agents' attention.

I could probably write an entire series on all the lessons I learned at #mnww, but I have a long list of edits, cuts and revisions to work on. Instead, may I recommend you sign up for a writer's conference near you? Whether it is your first or your fifteenth, I am sure you will learn something you can apply to your work.

Biomes Part 3: Resources on a Larger Scale (Hannah)

Hello, everyone, Reni here. Hannah is… ahem… occupied… elsewhere. Don’t worry about her. She asked for it. You can consider this payback for not letting me talk as much as she promised. And besides, who is better qualified to talk about resources on a large scale than a world traveler like me? A world traveler who is temporarily trapped in Minecraft. But never mind that. 

Have you chosen your biome yet? If not, why are you reading part three? Series build on each other. So if you haven’t yet, read Biomes Part 1: The Natural World, or at least make sure you know what biome you are going to be using. Once you know your biome, you can determine what resources are available. Believe me – available resources color everything from food to buildings to clothes. It is deeply ingrained in daily life. Naturally, that means it affects society at large as well.










Uh-oh. 

Where did the rest of her outline go? I only got as far as the title. Maybe if it’s... Uh, is it over there? No – maybe here? Or… Oh dear…




Sorry about the technical difficulties…






Um… Well, it seems Hannah’s notes have been damaged. Irreparably damaged. Of course, I have absolutely no idea how that happened. They were perfectly intact and right there in her hand when I… oops… Anyway, moving on.

Population Centers

Remember how the last post Hannah was talking about how it’s best to be close to the resources you need? Well, as it turns out humans are actually pretty smart creatures. They figured out the same thing I did in Minecraft – build your home where you can easily get to the resources you need. What happens when lots of people need the same resource? You get a population center. It might start as small as a couple of families in a virtual wilderness, but people tend to want to live near other people. (I’ll never understand that… You have the whole wilderness at your fingertips and you choose to cram in with dozens, hundreds, or thousands of other people? Not for me, no way.) Over time, areas that are resource-rich become heavily populated.

• Are there any areas that are naturally resource-saturated? 
• Are there any villages, cities, or other population centers that sprung up because of an abundance of resources? 

Travel and Transportation

I’ve talked a lot about how people like to be close to the resources they need and use. That’s a good general rule, but there are, of course, exceptions. It’s not just about actual distance between the resource and the people who use it. The real issue is how easy it is to transport the resource to where it will be used.

Ancient Egypt was founded along the Nile River, which made it much easier to transport resources of all sorts to people along the way. Thanks to the sophisticated system of transportation, distance wasn’t so much of a problem. Most civilizations along rivers, seas, and other bodies of water benefited in a similar way. Natural terrain features that allow easy travel and transportation will help a civilization quickly develop and spread.

But… natural benefits are overrated sometimes. I’ve spent many years traveling across the most unwelcoming lands, and I have learned that innovative people will always find a way to make their environment work. Ancient Rome built roads all across the empire, allowing trade between even the most distant provinces. The Mongols were master horseman. Sherpas in the Himalayan Mountains are known for being masters of navigating difficult terrain at high altitudes.

Sometimes, though, seemingly difficult terrain can turn into an advantage for the native people. The Green Bay Packers are a professional American football team from Wisconsin. Football season lasts from September to early February, and as some of the Minnesota natives on this blog can attest, the weather is brutally cold in Wisconsin during those months. The outdoor football stadium exposes players to all of the ill effects of the weather. For the Packers, this is normal – they practice in the cold every day. But for teams who are used to warmer weather down south, the cold is a shock and a disadvantage.

What should you consider about travel and transportation?

• Are there any natural features that facilitate travel? 
• Are there any natural features that make travel more difficult? 
• How have your people adapted to take advantage of the benefits of their terrain? 
• How do they make up for any disadvantage that comes from the landscape? 
• Have they been able to find a way to master a terrain-based “disadvantage” and turn it into an advantage? 
• What resources are rare or unavailable in your primary biome but can be imported due to ease of travel? 

Scarcity and Value

What makes something valuable? It’s simple economics – the more people that want something and the more rare it is, the higher the value will be. When Europe and China finally made contact in the Middle Ages, they became enamored with each other. Europe couldn’t get enough silk, spices, and more. They spent the next century seeking new ways to access the riches in the east. Similarly, the Chinese were smitten with European astronomical ideas and mechanical constructs. Trade between the two was difficult due to the geographical obstacles. Anyone who could bring Chinese treasures to Europe or European products to China could make an incredible amount of money due to the low supply and high demand for such items.

When I’m traveling around underground in Ruavaen, gems and precious metals are just as common and cheap as a good pair of boots. They’re pretty, but not considered valuable. Which is why I always try to carry as many as I can when I go back above ground – they are rare there, but in high demand because of the lavish lifestyle of the upper class Airaloth.

It’s common for people to want foreign, exotic, and expensive things. These can become status symbols or curiosities. If you have more than one culture or city, there is a good chance that people from one group are going to want something the other group has in abundance. This can lead to an interesting trade situation, if you want to dig that deep into your economics.

• What resources are rare and valuable to your people? 
• What resources do your people have in abundance that would be considered rare and valuable by someone else? 
• Related to the travel section above, how easy is it for your civilization to trade with its neighbors? 

Nations and Their Resources

This is a big subject and I am just a traveler, so I am hardly qualified to talk about politics and the actions of nations. However, I can’t just leave it out. So far, Hannah and I have talked about what resources your civilization needs and how they get them. What I glossed over is that it’s not always that simple. Often, people will not be able to access some of the resources they need or want. Maybe national borders are in the way, or someone else uses up all of the resources too quickly, or maybe the land just doesn’t provide everything the people need. Either way, most of the time these people will do whatever they can to take hold of what they need.

Sid Meyer’s Civilization IV is a turn-based-strategy game. The premise is that you are building a civilization from the ground up and guiding its development from the very first city to modern times. The beginning is crucial – if you don’t find a good starting place with the resources you need, you will quickly fall behind the other nations. When looking for a starting location, two resources are most valuable – horses and copper. Without horses, you can’t have cavalry, and without copper, you can’t build anything more powerful than the most basic warrior. Your nation will fall within 100 turns if you are missing both.

But resources don’t just matter at the beginning. As you research more technology, iron (which was not previously visible) will appear. This is where it gets sticky – even with horses and copper, a civilization without iron will not fare very well. What happens if there isn’t any iron within your borders? Other nations are more likely to take advantage of your weakness than sell iron to you. Your best options are to either find some distant source or go to war while you aren’t so far behind and take iron from some neighboring country. The same issue arises again and again as technology progresses and you need aluminum, oil, and uranium.

This is a good illustration of what happens in real life. In the game, your civilization will quickly be invaded and destroyed if you don’t have the iron necessary for a strong military. In real life, there are many resources that are similarly critical for survival. What happens when one group of people doesn’t have a resource they need? They have to find it (often in some far away location), trade for it, or take it by force. This is where politics and economics step in, and I step out. Still, it’s good to think about scenarios like this, and if you would like more information, read 30 Days of Worldbuilding, Day 8: Economy and Politics. (Hannah mentioned this one last week, but it is even more applicable here.)

• What are the most important resources to your civilization, culture, or nation as a whole? 
• How do they acquire all of these that they need? 
• Are they missing anything that will be important for their survival or general wellbeing? 
• If they are missing something, how can they get a hold of it? 
• Will they have to make long, dangerous, or expensive trips to harvest the resource from a distant location? 
• Will they become economically enslaved another nation by relying on trade to provide something they desperately need? 
• Will they be willing to go to war in order to secure access to a crucial resource? 

In Conclusion…

This is it for this series on biomes! Hannah started it off well, and now I believe I have brought it to a strong conclusion. See, we all knew I could write a blog post just fine on my own. She just wouldn’t give me a chance. Maybe some good can come from being forcibly removed from the office and locked in… uh, what I mean is… well, never mind. Who cares about the details, right? Anyway, I hope you all have enjoyed this series!

As always, questions, comments, opinions, and ideas are always welcome in the comments. If there is any particular topic that would help you in your worldbuilding, please go ahead and mention it down below. Hannah and I always want to write posts that are useful and interesting, so request away! How do your people travel in your world? Are they isolation from other civilizations? Do you have any materials you’re your characters hold valuable even though people on earth might not think so? Have you thought about how a supply-and-demand balance could affect the politics in your world?





Now to find a way out of Minecraft…

Biomes Part 2: Available Resources (Hannah)

Have you ever seen or played the game Minecraft? If you haven’t, it is a game that is based around the idea that you, the player, can take the materials that make up the world and either rearrange them or repurpose them in order to build things. I brought Reni into Minecraft for her first out-of-story adventure so far. I’ll let her share her experiences with you.

Reni: Hooray! You didn’t wait until the end to let me talk!

A Visit to Two Cities

The first city I visited was called Aula.



One of my favorite buildings there was this church, which Hannah built out of stone bricks and nether bricks. 

This university had a bit of a different style since it was made out of white stained clay, spruce wood, and dark oak wood. 

Aula is situated high above much of the surrounding landscape in a biome called “extreme hills.” (Why they didn’t just call it “mountains” I don’t understand…) Anyway, the extreme hills biome is made up of a grassy, hill-covered expanse with few trees but a large supply of stone under the dirt. Most buildings in Aula were made of stone and clay and had wooden roofs.  There was a lot of clay close by in a deep river. Wood could be found in a nearby forest, but it wasn’t as easy to get as it would have been if the city had been in a forest biome.



The other city I visited was called Khatira. It’s not finished yet, but as you can see, it is in a desert.

 

Big difference, huh? Instead of stone, clay, and wood, nearly everything is made of sandstone. The little acacia wood Hannah used was hauled in from a distant savannah using a donkey caravan. She raises cows and sheep there because in the desert, there isn’t dirt for raising crops. Since it is a coastal city, fishing is the main source of food. 

See? A whole lot of sand, sandstone, cactus, and not much else. 

Thankfully for Khatira, it isn’t completely isolated. It is a port city, and here is a ship in the harbor that is made of jungle wood. It is importing cocoa beans, jungle wood, vines, and other goods that you can’t find in either extreme hills or the desert.

Hannah: Thank you, Reni. I’ll take it from here.

Reni: What? But I just started!

Hannah: I know, but like I said last time, I’m easing you in.

Reni: That’s dirty! Just you wait, one of these days, you won’t be able to get rid of me so easily…

Hannah: Anyway, back to the post.

The purpose of this was to illustrate how something as simple as a building can change dramatically when the available resources are different. When you start to think about the economy, things get even trickier: coal is very expensive in my desert city, but it is dirt cheap in the one on the hill. How does this change the way the city functions when coal is an essential resource for smelting metal, providing light, and cooking food?

That is why, in Minecraft, it is important to choose carefully where you are going to build. What resources are essential, and how are you going to ensure you can access them? Anything can be imported, but is it worth spending the half hour it requires to travel to a faraway forest, chop the trees there, and haul it all back? Or would you rather have that forest in your backyard? What about stone, water, food, or high ground? Do you want to build next to a natural village so you can trade with the people there, or would you rather look for one of the dangerous, abandoned ruins that yield large amounts of treasure? There are many factors involved in choosing a location. While some people will simply build wherever they are, it is important to consider the effects the landscape will have on your lifestyle.

Stories are the same way. You could “write what you know” or write what seems interesting, but if you want your world to be well developed and consistent, it would be a good idea to consider some of the questions I listed above. Minecraft is a simplified version. You can grow trees in the desert if you move dirt there. You can raise animals with no water, or live in perpetual snow with no heat source. Real life doesn’t work that way.

Do you know what biome your characters inhabit? It’s an important choice. If they lack a critical resource, they are going to have to find a way to acquire it or learn to cope without it.

For example, in my current story, the main characters live underground. Obviously, this is not a real world biome, but it does exist in my story. I have run into many problems: where do they get food? Plants don’t survive without sunlight, so my characters have virtually no crops of any sort. Speaking of plants, they don’t have trees either. They build buildings out of stone, but what about doors? Stone would make a heavy door. Metal has to suffice instead. No large mammalian creatures live underground, and cotton is a plant. What do they wear? How do they get around if they have to dig tunnels everywhere? Since they can dig tunnels up and down, they obviously don’t have to live in two dimensions anymore. What happens when two nations go to war? If they have to fight in tunnels, how does that change what armor and weapons they use?

Reni: Hannah, not everyone has a biome as strange as yours.

Hannah: True, that’s true.

What should you look out for, then?

Resources that are important to most or all earth civilizations: 

• Drinking water 
• Food – usually farming, hunting, fishing, or animal husbandry 
• Wood 
• Materials for building shelter 
• Materials for weapons – stone, bone, wood, bronze, iron, explosives, etc. 
• Clothing materials – cotton, leather, fur, linen, etc. 
• Fuel source – wood, coal, gas, anything to sustain fire for heat and light 

Your civilization is most likely going to need all of these things. However, as Reni showed with her Minecraft examples above, different cultures meet these basic needs in many different ways. This is why biome is important.

Food

In Japan, only 12% of the country is suitable for growing crops. However, seafood is abundant. In contrast, the Midwestern United States has a large supply of grains – wheat, corn, soybeans, and wild rice – and also beef and pork. Seafood is rare there because it is completely landlocked.

This is where research will benefit you a lot. If your climate is similar to a particular place on earth, it would be quite beneficial to see what sort of plants and animals live there. An ecosystem is “a biological community of interacting organisms and their physical environment.” This is exactly what you need to create. Thankfully, it is not difficult to research a biome similar to yours in order to figure out what kinds of wildlife would be available. Once you have that information, you will have a good idea what your characters will be eating.

Of course, the globalization of the food market has helped standardize the foods available. Nevertheless, even if your story is set in modern or future times, there is a good chance the cultural and regional food tastes were set long before they had access to foreign cuisine.

Here are some food-related questions to consider.

• Where do your characters get fresh drinking water? 
• What plants can they eat? 
• Do they have berries, nuts, fruits, or vegetables? Which ones? 
• What about grains or beans? 
• What plants can’t be eaten by people but might be harvested for animals? 
• Which of these plants are grown as crops? 
• Are some easier or cheaper to grow than others? 
• What fish and animals are native to the region? 
• Which ones are suitable for food? 
• Which of these animals could be domesticated or raised, and which must be hunted? 
• What spices and seasonings are available, if any? 
• What foods are rare and considered delicacies? 
• How is food brought from its raw form to the dinner table? 
• Do they cook it, boil it, fry it, grill it, or something else? 
• Do they eat it all together, like in a stew or stir fry, or are foods kept separate? 
• What methods are available to preserve or store food so that it can be eaten later? 

Note: If food is not very important to your story, you most certainly do not have to go into all this detail. I haven’t yet. Still, it wouldn’t be a bad idea to go over the main ideas.

Shelter

Food isn’t the only cultural element affected by the choice of location. The available building materials dictate what can be used to build shelter, and the climate determines what types of shelter will be necessary. For example, when the Vikings settled in Iceland, only 30% of the island was forested – and this was mainly birch. Oak was the preferred wood, but the Vikings used what they had. The front and back walls of the buildings would be made of wood, but the roofs would extend all the way to the ground and were covered in turf. This way, the Vikings made use of an abundant resource – turf – and took advantage of the extra insulation it provided. If you look at architecture all across the world, it shouldn’t be difficult to see how the biome directly influenced the buildings.

• What building resources are available? 
• At the most basic level, buildings are shelter. What do your people need shelter from? (Rain, snow, wind, heat, cold, predatory animals, enemies, natural disasters, or something else?) 
• What features of your buildings protect your people from these things? (For example, the turf houses I mentioned earlier use earth to insulate from the cold) 
• What terrain is preferred for the buildings your people will construct? 

Note: There are many other elements that will affect buildings. For example, which buildings are the most important to a society? How are they distinguished? What features are stylish at the time? Etc. However, for now I am specifically focusing on biome-related considerations.

Clothing

Like food and shelter, clothing is an important part of culture. Many people associate silk with China or grass skirts and leis with Hawaii. Clothing can be just as distinctive as food or a building, and it too is largely dictated by available resources. Common materials include but are not limited to wool, cotton, fur, leather, linen, silk, polyester, and more.

Also, like buildings, clothing must be appropriate to the temperature. Fur was widely used in Canada and northern Europe because the indigenous animals had warm fur to protect them from the bitter cold. The people would hunt these animals specifically to benefit from the same protective furs. In contrast, people in Greece and Rome, in the warm Mediterranean climate, wore thin, loose linen garments so they didn’t get too hot.

Clothing is also protective. Knights in Medieval times wore armor into battle, my dad wears a windproof jacket when he rides his motorcycle, and construction workers wear hard hats. Firemen wear fire-resistant jackets, divers wear scuba gear, and I wear rubber boots when I have to work outside and the ground is flooded. No matter what you are doing, chances are you will probably wear something that will keep you comfortable and safe. Over time, people will find ways to make it easier to interact with their environment, so it would be a good idea to consider what technology your civilization may have developed to deal with some unwanted elements of their biome.

• What materials are available for making clothes? 
• Just like buildings, clothes provide shelter. What do your people need shelter from? (Rain, snow, wind, heat, cold, predatory animals, enemies, or something else?) 
• What type of clothes would suit the environment? 
• What is the most common material that would serve the needs of most people? 
• Are there any specialized clothes that would only be used under certain circumstances? (Most people don’t wear rain gear every day, but it is quite beneficial during the rainy season.) 
• What armor or protective gear do soldiers or warriors wear? 

In Conclusion…

Next time, I will look at the broader social and economic effects of resources – Which ones are the most rare and valuable? What happens when one country relies on another to provide a critical resource? How do population centers grow around a large supply of an important resource? – But for now, consider how the environment dictates culture on an everyday scale.

If you are interested in more information, check out Day 8: Economy and Politics from 30 Days of Worldbuilding.

Thanks for reading! As always, questions, comments, opinions, and ideas are always welcome in the comments. Have you ever thought about how much a society is built around the resources available? What are some of the most interesting real-world cultures to you?