Friday, September 28, 2007

Exciting LORD OF THE FADING LANDS News!

LORD OF THE FADING LANDS officially hits the bookstores in just three days, but there are already sightings on bookshelves near you.

Here, daughter Ileah holds my newly-arrived author copies...



Then my daughter Rhiannon and son Aidan joined me on a trip to the mall where we found Lord on the shelves of our local Waldenbooks!!!





Fabulous Reviews


In other news, I've been thrilled to receive several recent rave reviews and a very special "book of the week" pick...

Publisher's Weekly blogger Barabara Vey picked Lord of the Fading Lands as her "read of the week"!! I can't tell you how thrilling it is to have such an incredible welcome for my first published book!

Tammie King at Night Owl Romance chose Lord of the Fading Lands as a Reviewer Top Pick


Detra Fitch at Huntress Reviews rates LORD Five Stars.

Saturday, September 15, 2007

The Appeal and Worth of Imagined Worlds

I was catching up on the blogosphere (read, procrastinating from putting words on pages) and discovered this wonderful blog by Chris Everest.

He puts my views of what makes fantasy/sci-fi so special with this one paragraph...

Likewise Malcolm Pryce's Aberystwyth novels or Roy Clarke's Last of the Summer Wine, Mervyn Peake's Gormenghast or Christine Feehan's Carpathians they all convey in a microcosm the universe as their author sees it or would want others to see it. The popularity of each work further emphasizing that many other participants see it the same way. The accusations of escapism only block off an imaginative entry into these worlds - to see the honour in a work by the late great David Gemmell ; fighting against despair because it must be done - to see faith and loyalty in the words of James Barclay. The response of the reader to these works - to these worlds - is more than is termed a demeaningly described suspension of disbelief - it is a true spiritualised belief far from the religiose demands of compulsion - but not in broadswords and elvish heroes but in a humanistic capacity to improve and grow.


I'm so glad he mentioned Christine's Carpathians, because I completely agree with him. Part of what makes the Dark Series an eternal keeper on my shelf is the intrinsic honor and goodness of the Carpathians, and their selfless determination to fight the dark side of their own natures to become heroes truly worthy of their happy ending.

And congratulations to Christine for debuting at #3 on the NY Times Bestseller's list for Hardcover Fiction! She deserves every moment of her phenomenal success!

Friday, September 14, 2007

Worldbuilding 101 - Structuring Your Society

So you've decided some basic physical and genetic basics about your races. And you've decided some broad cultural and societal brushstrokes such as core values of the society (and what the society will do to protect them), where and how the members of the society live, how they interact with other cultures, what their religious beliefs are, and the basics of how the society educates its members.

Now lets flesh out the social structure - the classes (or sub societies) within the culture.

You will be drawing upon most of what you've decided previously to do this exercise.


Class system. Is there is class system and how stratified is it? Most societies automatically segregate into classes. At a minimum, there are typically low, middle and upper classes in any society. You can break this down even further: slave, peasant, craftsman, merchant, professional, cleric, noble, king. And often there are sub-strata within each class.

In some societies (such as India) a very stratified "class" system - called caste - exists. Under the caste system, you are born into your caste and can never leave it. People do not marry outside their caste. Social order, friendships, jobs and professions are all determined by your caste.

What are the classes in your society? How are they established? Can individuals move between classes - and if so, are there limits to how high (or low) they can move? What sorts of obstacles are they likely to encounter?

Typically, the lower the class, the poorer the education and the more menial the tasks the members of a particular class are expected to perform.

Value of Life. What value does your society put on life in general? Are lives valued, or are people considered expendable? In ancient Roman times, for instance, the gladiatorial combats slaughtered people for sport. In societies where conditions are harsh and survival is a struggle, death would typically be greeted with practicality. There might be some weeping, of course, over the death of a loved one, but members of the tribe would typically accept and move on.

In some cultures (such as feudal Japan, china, and certain middle eastern cultures), honor is far more highly prized than life, and as a consequence, the societies embrace ceremonial suicide and honor killings.

Family Structure. What comprises a family unit in your society? Families are the core unit of most societies, but the makeup of them and how they relate to one another might be considerably different. Who is the head of the family - does s/he have particular roles associated with that responsibilty? Is the family comprised of parent and children, or extended to include relatives (brothers, sisters, cousins, grandparents) all living beneath the same roof? How strong are family ties and family loyalties? What, if anything, trumps familial loyalty?

Pair Bonding / Mate Bonding. Is there a mate bond? Is it a chosen bond or a genetically predisposed/undeniable bond? Are matebonds formed for love, political ties (i.e., arranged marriages), as a spoil of victory won by rite of combat, or by divination (gods/priests/oracles determine which couples are to be bonded). Are there effects of complications that typically - or uniquely - arise due to the matebond? Are the bonded mates monogamous? Do the people of this culture mate for life or can mating bonds be broken? What are the social (or possibly even physical) ramifications of that? What responsibilities come with the mate bond?

Children. In longer-lived cultures, children must, by necessity, be a rarity, else the immortal species would soon overrun the planet like an unchecked bunny population. Are children rare or relatively common? Are they raised by their parents or are they fostered or raised by the tribe?

At what age are children of this society/race/species considered to have achieved adulthood? Are there any rites of passage? Are there any physical transformations that mark this transition to adulthood? Are there certain abilities adults have that children do not (or vice versa)? For instance, perhaps magic does not blossom until after puberty.

Gender Roles. Are there specific gender-associated roles in your society? For instance, are women warriors, or is war solely the province of men? Is the society patriarchal or matriarchal (or perhaps the genders live apart from one
another). What happens if a character steps out of a traditional gender role?

Age-Related Roles. Does age play particular significance in what is expected / allowed for individuals in your society? Wizards are often depicted as old men because, one assumes, learning to become a wizard takes a very long time.

Do certain capabilities only come with age? Become lost with age (biological clocks, memory, health, etc.)?

There are many, many more questions you can ask yourself in order to flesh out the structure of your society and how individuals in that society relate to one another. Societal bonds are hugely important to most peoples because socialization, not isolation, is necessary to our physical, mental and spiritual well-being.

Now keep in mind, as you come up with these tenets of your society, that the society's values should mirror, underscore, or challenge your plot and themes. And keep your eye open for all manner of interesting conflicts - because with the ties and expectations of society come the rules and limitations imposed upon your characters by the societies in which they live.

Happy Worldbuilding! In the next article, we'll talk about how to structure and incorporate Government and Industry in your societies.

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Sunday, September 2, 2007

World Building 101 -- Peopling Your Planet

So...you have a planet. You have some idea of the basic terrain, climate, vegetation, animal life. Now it's time to add your people.

The people and their cultures that you create will have a far greater impact on your story than any other element of world building you can contemplate. Why? Because stories are about people: the trials they face, the quests they undertake, the way they interact with each other, their values and beliefs.
When you are building your world, the people (and their cultures) are what you should spend the bulk of efforts to create, flesh out, and understand in detail. Here, small sketches are not enough - unless you're talking about a race that is a mere footnote in your book.

Let's start with some very basics:

  1. Average life span. Are these mortals? Immortals? What is the average lifespan of a man and woman (barring unforeseen accident or death)? If your people are "immortal" is this true immortality (ie, even destruction of physical form does not kill the consciousness) or can their otherwise unending life be terminated (cutting off the head, silver bullets, stake to the heart, etc.)

  2. Physical characteristics. Are your people short? Tall? Stocky? Slender? Beautiful? Pale-complexioned? Dark-skinned? Ruddy? Are there predominant hair and eye colors? Are there any race-specific physical characteristics (rounded ears, pointed ears, three fingers, fangs, etc)?

  3. Superhuman abilities. Do they possess any superhuman abilities? Some types of superhuman capabilities include magic, psychic ability, flight, shape-shifting, healing. Other, slightly less fantastical capabilities include superhuman strength, speed, hearing, vision, empathy. (We will talk about magic and superhuman abilities in more detail in a later post.)

WARNING: When creating a people with superhuman / supernatural abilities, in particular "all powerful" beings, don't forget to give those people one or more weaknesses. All characters must have a point of vulnerability. Without it, they are gods, and it's extremely difficult to evoke any real sense of danger in a story about a character who is invincible. Even Superman has Kryptonite.


Now, let's add some broad cultural/societal brush strokes to our fledgling peoples.

  1. Core Values. What does this society value most? Why? What are they willing to do to protect that value?

  2. Defining Attributes/Cultural Strength. Is there a core belief/activity (which almost always springs from the thing or things the society values the most) that makes this society/culture unique? Are your people conquerors? Are they great artisans and craftsmen? Great poets and musicians? Great scholars? All societies typically have some basic core strength, else they will ultimately be absorbed by some other culture.

    Some examples of defining attributes/cultural strengths: dwarves are typically depicted as being miners, dwelling below the surface, typically coarse and either jovial or unfriendly people. A race of nomadic horsemen living on the plains would build their society around the horse, and likely following a migratory food source. Hunting and horsemanship would figure enormously in all their endeavors, and weapons of choice would be something that could be wielded on horseback. A tribe of Fremen living in the sands of Dune build their civilization around Spice and water, and their great strength is their fighting ability, which springs from their relentless battle to survive in a bitterly harsh environment.

  3. Cities. Is the society nomadic or do they establish permanent settlements/cities? Are there distinctive elements to their architecture, and can these artistic elements serve to reflect the core beliefs and lifestyle of the culture? Warlike people, for instance, would build their cities for defense. Nomadic peoples would have easily constructed or movable buildings and would likely also have some reliance on beasts of burden.

  4. Interaction with other cultures. Which cultures interact with others? Which are more closed (and therefore more likely to be hostile to outsiders)? Who are their enemies? Allies? Why? How strong are the alliances? How hostile the feuds?

  5. Religion/Spirituality. Does the society have a communal religion? Are they monotheistic? Polytheistic? Atheist? Are there various sects within the society that worship in different ways? Are they tolerant of other belief systems? Does religion play a large part in daily life?

  6. Education / Scholarship / Training. Does your culture value education? Can everyone read and write, or only certain people? Are certain people prevented from educating themselves? What sorts of education are available and how is it provided?

Again, when making these decisions, go back to the basic themes and plots of your story. What will help illustrate or draw those themes/plots into conflict? For instance, if you are writing a story about freedom and living with nature, you could showcase a nomadic, hunter/gatherer society against a society that builds stone monuments to progress across previously open hunting plains.


I am clearly omitting several key considerations, which I will discuss in later blogs:


  1. Social structure

  2. Government and Industry

  3. Warfare and technology

  4. Magic

  5. Myths, Legends and Histories

  6. Customs and Taboos

  7. Language


I will be discussing the above topics individual in upcoming blogs. Next article: Structuring Your Society.

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