World in the Satin Bag

World Building: Thoughts and Practices

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World building is one of those things you have to do, even if you don’t want to. Whether you write fantasy, science fiction, or something else entirely, you’ll always find yourself attempting to build your world, whether at the micro or macro levels. Creating characters is a form of world building, and if all you do is create unique characters for your novels, then you are as much a part of the process as someone who builds entire worlds (they just have to spend more time creating things from scratch, while you, perhaps, can sit around in the comfort of the world you know). I’ve often approached world building from a relatively minimalist position. While I enjoy fantasy worlds with richly developed worlds, sometimes such things can get in the way and what should be a riveting novel can turn into a foray into the author’s world building practices. Nobody wants that. Tolkien, for all his brilliance in creating the most fully-realized fantasy world in the history of the genre, was occupied by unfortunate flaws in style and character development, some of which were a product of the times. I prefer to keep things localized. Whether it is the most efficient method, I don’t know, but it seems to work well enough for me. I don’t occupy myself with excessive amounts of ancient history, because, as much as that might be interesting, it is not relevant to whatever story I am writing at that moment. When I build worlds, I start with names and general ideas, work my way to a map, and then go wild until I feel that I know enough about the world to be able to write in it. Sometimes it works well, depending on how interested I am in a particular world, and sometimes it doesn’t. But when it works, it really works. I have three fantasy worlds that I developed this way (Traea, the world in which The World in the Satin Bag is set, a world where I’ve set many of my “quirky” fantasy stories, and the Mundoscurad, the most recent, in which The Watchtower is set. There are an absurd amount of different methods for world building, from genre specific to author specific. Writers of all genres, particularly newer writers, are always looking for the “best way,” not realizing that the “best way” is really non-existent. Reality dictates that what might work for some, may not work for you, and vice versa. Ken McConnell, for example, said via his Twitter that, “sometimes it’s the little things, like word choice that can set the tone and enrich your world building.” So what do you do when it comes to world building? How do you find the right method for you? Trial and error. Not the answer you were looking for, were you? Tough. So much of writing involves trying something to see if it works for you. If it doesn’t, you drop it and try something else. Trial and error is a writer’s third or fourth, or maybe tenth, best friend (no doubt writers have a lot of best friends). But that’s neither here nor there. I want to hear about your world building methods. How do you approach creating new worlds? What works for you?

World in the Satin Bag

First Time Novels: Small Press or the Big Boys?

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An interesting thought occurred to me only moments ago: when it comes to considering publishing your first novel, how do you decide on what kind of publisher to select? It would seem, at least to me, that many automatically send their work to the big boys, get rejected, and then sit around bitter, or self-publish, due to some unfortunate ignorance on their part of all the wonderful small presses out there. But then there are others, like Paul Genesse and other talented writers, who opted for a small press from the start, for reasons that I have either forgotten or simply do not know. I suppose my curiosity on this arises because I am considering my own path, considering the future from a point far removed from that would-be point. Are certain novels more fitting for small presses than the big ones? How does one see that in a novel? And do writers who select small presses first ever consider whether it would have been better to go with one of the big boys? Or is that so far removed from an author’s mind because, hey, they’re published, even if it is by a press that will only print a thousand copies of their book? I don’t know. It seems to me that if you could define a small press novel as a particular brand, then you could easily say “this would be good for them.” But novels don’t seem to be so easily defined, and I find it difficult to believe that the many authors snatched up by small presses went there as a last resort. What about all of you? What would you say to all of this? How would you decide to choose a small press? P.S.: This is not meant as a slight to small presses in any way. I have read many great works from small presses and believe them to be a valuable asset in a difficult field to break into. I do, however, recognize that many authors do not have the sort of relationship I do with small presses, a relationship that recognizes their value and has seen the quality of work they produce. Some still perceive the small press as too close to self-publishing for comfort. It’s an unfortunate stigma, but one that small presses must combat, day in and day out.

World in the Satin Bag

Fantasy Essentials: What Should I Have Read?

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Somewhere along the line I began getting criticized for not being all that great at writing fantasy because I had not read enough in the genre. Maybe this is true, and if so, I would like to rectify that, to the best of my ability. So, to all those reading this, I’m calling on you for help. In the comments, let me know which five fantasy novels you think I absolutely must read. They can be any fantasy novel except the following: The Lord of the Rings, Eragon, Harry Potter, and George R. R. Martin. I’ve either already read those or tried to read them, so including them here would be meaningless at the moment. Have at it. Tell me which five you think I should read and why!

World in the Satin Bag

Interview w/ David Bryan Russell

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David Bryan Russell is the author of Enchanters, which I reviewed here. Appreciation goes to Mr. Russell for agreeing to do this interview. Here goes: First, can you tell us a bit about yourself? What drew you into authorhood, and why fantasy? I refer to myself as a ‘professional dreamer.’ My creative journey began in early childhood, inspired by adventure stories and mythology, especially the Norse sagas. I began writing around age 12, and concurrently started drawing about the same time. The visual arts eventually dominated my creative output, but my interest in literature never flagged. Regarding my preference for fantasy…well, the colourful Norse sagas lit the initial fire, followed by the body of fantasy literature that fortuitously began to re-emerge in the popular press during my late adolescence. In any case, I have always found the genre full of depth and meaning. In a sense, fantasy constantly seeks to re-imagine the spirit world, and in the process can provide insights to humankind’s most perplexing issues. What have been some of your influences as a writer? I’ve mentioned mythology and fantasy literature, to which I should add the imaginative output of such diverse artists as Caravaggio, Rubens, Jack Kirby, Frank Frazetta, NC Wyeth, Gaugin, Lautrec, and select Pre-Raphaelites, all of whom were excellent visual storytellers. What are some of your favorite books, whether fantasy or otherwise? Hmm…..an abbreviated list must include The Three Musketeers, Huckleberry Finn, David Copperfield, Wind in the Willows, The Time Machine, Treasure Island, Walden, Women in Love, The Jungle, The Grapes of Wrath, 1984, Invisible Man: A Novel, Fritz Lieber’s Fafhrd and Gray Mouser stories, The Martian Chronicles, and the following books by Jack Vance: Tschai, Demon Princes, Durdane, and Dying Earth series, and Emphyrio. Could you tell everyone a bit about your novel, Enchanters? It’s a contemporary fantasy adventure, powered by love. I enjoyed writing the book, which allowed me to distill a number of concepts about magic, and of humanity’s relationship to the natural world. It’s clear from Enchanters that you have a vested interest in the state of the environment. True. This forms part of the motivation of the principal character, but Enchanters is no environmental polemic. What drew you to translate this into the world of fiction? It seemed logical for the character, and the hidden world of magic to which she belongs. Enchanters is a curious novel that tackles the issue of human pollution from a unique angle. What prompted you to create this side world, where the Enchanters exist as a sort of oppositional force to humanity’s lesser qualities? I would not view the Enchanters as oppositional; in fact, it’s clearly stated that they were once bound quite closely to humans. However, circumstances altered over time. In essence, Enchanters charts the personal journey of Glys Erlendsen into a heretofore unseen world, one in which the goals of humanity and those of the Enchanters are often at odds. How she deals with these dilemmas provides the basis of the adventure. Set in Norway , Enchanters seems relatively steeped in regional folklore. What about the country’s mythology that so fascinates you? As I mentioned, Norwegian cosmology stirred my imagination from an early age. The country is almost unique in Europe, in the sense that it never accepted the Christian concept of duality–that is, the existence of an absolute right, and absolute wrong. In simplistic Christian terms, god on one hand, the devil on the other. This flexible thinking–despite the brutal aspects of the Viking period–allowed for the eventual development of a rather egalitarian culture. Most importantly, however, Norwegians successfully held onto their beliefs in the spirit world, and to this day recognise the presence of fairies, elves, trolls, and other magical beings. In part because of these beliefs, Norwegians have an intense reverence for the natural world. I observed these singular traits during my first visit to Norway in 2002, and thereafter decided to set the Enchanters storyline in the country. Do you see fantasy as a great genre through which to examine the human condition as you have in Enchanters? Beyond question it is a supple medium for the exploration of the deeper issues of life. Alas, few authors recognise this potential. What drew you to publish with a small press, and how has your experience been with them? As you have observed, Enchanters is a unique novel. I felt that a small press would be more likely to recognise its potential than a globalist publishing house, where editorial departments routinely favour non-original (and non-controversial) material. What are some advantages, in your opinion, of being published with a small press? Personal attention, editorial and marketing support, and (most importantly) the gift of time to develop one’s ideas. What other projects do you have coming up, and can you tell us a little about them? The sequel to Enchanters, entitled A Shining Realm, will be released in Fall 2010. I am also currently outlining a new series of fantasy novels set in a fully-imagined world. What unusual piece of writing advice would you give to budding writers? Ignore contemporary trends, and develop the most original work you can manage. Be mindful that most writers are seeking to emulate film and television writing, which is inappropriate for the development of potent fantasy literature. Study the great books of the past, and of the present, especially those outside of one’s preferred genres. Now for a random question: If you could be the King (or Queen) of any country during medieval times, which country and why? I presume you refer to the European medieval period…It’s an odd question, since the era was miserable for rich and poor alike, primarily due to the cultural death grip of the region’s vile religious institutions. In any case, I myself am quite egalitarian, and would thus never consider occupying a position of life and death over my fellow human beings. And there you go!

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