Building the Backdrop by Nancy M Bell

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Creating a backdrop, for me, is a bit different that world building. World building is more complicated like building something out of Lego where every little bit counts, while creating a backdrip is more like a broad sweep of the brush using water colours. Still needs to be taken seriously, but not as granular as world building.

Building the Backdrop
Nancy M Bell

Where do our stories take place, can our characters exist in a vacuum? Of course not. Our stories need to play out against a rich and engaging background. The environment our stories take place in can become as important as the actual characters and an integral part of the reader’s experience. Examples of this are Tolkien’s Middle Earth, McCaffrey’s Pern, Graham’s portrayal of Cornwall in his Poldark books, Rowling’s Hogwarts and alternate London to name just a very few.
Whether we are creating a whole new world complete with maps and exotic flora and fauna or are just setting our tale against something that exists in reality (or close to it), the behind the scenes part of our creation needs to be the layered, deep and rich foundation upon which we tell our story.
As the creator/author you need a strong concept and vision of what your world consists of. Where is it located, what types of characters live in the background to give flavour to our main characters. Consider the weather; are there seasons, is it always hot or cold, is the environment harsh or lush, are you building a backdrop in a city or a town or a more rural area. Take the time to think about these things before you begin. Draw maps if you need to in order to give you a sense of scope and ground yourself in the environment. Those maps may never get into the actual book, but it will help the author navigate through the fabric of his story and weave his characters into that fabric in bright colours.
You need to develop a 360-degree view of your characters. What dialogue will they speak? Is it cultured? Rough? Upper, middle or lower class? Consider how and what they say and what they don’t say but can be implied by their actions/reactions or movements which may be enhanced or initiated by elements of your backdrop. Sometimes what isn’t said comes across more powerfully than what is said.
Mine the stories behind the main story without distracting or overpowering your main characters. This helps create a vibrant and rich tapestry for your story. An interesting experiment is to write the same scene from different character’s point of view. This often gives a deeper view into the circumstances surrounding your main story thread and enrich your world.
Another important thing to consider is how your characters react to these four things:
Money, sex, food and sleep. This is a good way to get into your characters’ heads and will aid in your development of the characters and the backdrop against which they play their parts.
You want to evoke in your readers a strong emotional connection to your characters and to the world through which they move.
The backdrop is important to your character as it will dictate how they behave; their personal motivation should be reflected in the world you create for them.
What is the economy of your world? Supply and demand is a concept that knows no barriers as to genre or length of story. Consider how the economy you create shape and affect your characters both primary and secondary and the world dynamics. An example of this would be the Avengers and the Blue Cube (Tesseract) all you need to know to grasp the essential concept is that people want the Blue Cube and that dictates the rules of the world. The basis of this world is the Tesseract is the containment Bessel for the Space Stone, one of the 6 Infinity Stones that predate the Universe they’ve created and possesses unlimited energy. This one concept is the basis for the foundation of the that world and the fabric of the backdrop for their adventure.

Be careful not to over explain things, show don’t tell is still a rule to live by.
Consider what the character wants- this algorithm will drive your story forward.
You can draw from history for the foundation of your religious and political systems, given you’re not writing non-fiction you can mix and match from different sources, taking what works best for your story.
Your economy isn’t just based on wealth or class- supernatural powers or lack thereof can enter into it, as well as exchange of power or energy.
Don’t forget the sensory issues when creating your backdrop, what are the sounds, smells, what kind of food, what tastes do your characters enjoy, how tactile is your backdrop, can your reader appreciate the feel of your world, smooth concrete, rough cobbles, deep sand, rolling surf etc. You reader need to feel “immediate” in your world. That is to say engaged in the whole experience of your story. Give your readers physical sensations they know intimately- we all know what a paper cut feels like, or burning your hand on a hot pot etc.
Be sure your created fabric isn’t too perfect or sterile- there must be costs attached to actions, consequences for things that do or don’t happen. The reader needs to feel and enter into the tension and care about the stakes.
There are three hills to die on. Three points of high conflict which helps define your world. Know what they are before you start and work from there.
Alternatively, there is Dan Harmon’s Story Circle consisting of 8 major points to hit. Not unlike the various versions of the Hero Cycle.
Remember to write the book. Don’t get stopped or hung up by the little things. Write the climax first if that is what comes to you.
Write with a ragged edge, release control and allow yourself to be nimble.
Don’t be afraid to kill or rehome your darlings.
Always think “what is the point of this scene.”
Does it serve to drive the plot forward
Be sure your backdrop doesn’t over power your characters or story line- they need to mesh and be compatible.

You can find me at http://www.nancymbell.ca

World Building Last Part - Janet Lane Walters #Amwriting

Language is important in world building. In paranormal stories finding words that give an other world flavor can be difficult as well as confusing. I’ve read some books with glossaries but constantly turning pages to decipher meaning can turn a reader to a different book. Also using too many strange words can turn prose into gibberish. What you need to do is find words that hint to what the characters are tasting, seeing, hearing, touching and smelling.

If you say. “He raised a con of lug and sipped, the reader’s brow will furrow. But if you say He raised a mug of kafa, the reader will think coffee.

I have three reference books I use. One is a seven language dictionary and the other is an etymology. They have helped me find the words I need. When writing the Egypt books I found an encyclopedia of terms that helped there. The third book is Orson Scott Card’s How To Write Science Fiction and Fantasy. Great world building chapter.

For historical stories the wrong word can jolt the reader out of the story, Also too much usage of the right words such as dialect can send a reader searching for another book. Sometimes the word can be right but it seems too modern to the reader. Take pothole. There have been potholes that were called just that during historical periods as well as today. A friend had to change pothole in her book because an editor felt the word was modern. Also remember when you’re searching for a word to use is that words can change meaning.

In contemporary stories language plays a role in creating the dream. Every career choice, region of the country have specific words. There’s argot, cant, slang whatever you choose to call these expressions, using one of these words can point to a specific area or career.

For example, I’m from Pittsburgh. When company’s coming I’m apt to red up the house rather than clean.

If a character says “Heart attack:” we might think lay person but if "Cardiac arrest,” is used we think of medical personnel.

He aimed his piece, or his gat or his gun or his Glock. Those words can change an opinion of a character and of the world he or she inhabits.

One good thing about writing a contemporary story is there are experts to interview who can provide language and information to help build your world. These people are almost always happy to talk to a writer.

Actually when doing an interview I had an interesting event. How I was nearly arrested for murder.

I needed to speak to a policeman to learn when I could schedule a murder victim’s funeral as this led to the climax of the story. My daughter had a friend from school who became a policeman. He had been at the house many times and was semi-adopted into the family. I called his off-duty phone and left a message for him to call me back.

A few hours later he returned the call. “What’s wrong? What can I do?” he asked.

“It’s about this woman I just murdered. How long before she can be buried.”

Then I heard. “No, Guys settle. She’s a writer.” There was a pause. Then he said, “Ma, I’m at the station. You’re on speaker.”

Another aspect of world creating, particularly for those writing historical or paranormal romances is the history of the world or the era. The reader needs to know some of the background if it’s important to the story.

Now, sharing every detail of the world is tempting but the readers want action not a history lesson.

When writing contemporary romances the writer must decide how much of the current events they want or need to relate. Much will depend on the story’s focus.

There are also rules of the world you’ve created. Most of us know the rules of the contemporary world and we can learn about the ones of the historical one. When writing a paranormal story the rules must be known to the reader. This is your world and you need to know them. These rules must apply to the characters and be established as customs in the world you’re inviting your readers to enter.

World Building For All Genres Part 3 Janet Lane Walters #characters #writing #language #etymology

The next area of World building to consider is Characters. There are a number of areas where people help weave the world web.

Clothing is a must. In contemporary stories all manner of places and pictures can help clothe your characters and point to their career, their status in life and where they life. For historical characters there are costume books. If paranormal is your bent, imagination can take over. You can also adapt clothing from pictures of books to dress your people.

Language is important in world building. In paranormal stories finding words that give an other world flavor can be difficult as well as confusing. I’ve read some books with glossaries but constantly turning pages to decipher meaning can turn a reader to a different book. Also using too many strange words can turn prose into gibberish. What you need to do is find words that hint to what the characters are tasting, seeing, hearing, touching and smelling.

If you say. “He raised a con of lug and sipped, the reader’s brow will furrow. But if you say He raised a mug of kafa, the reader will think coffee.

I have three reference books I use. One is a seven language dictionary and the other is an etymology. They have helped me find the words I need. When writing the Egypt books I found an encyclopedia of terms that helped there. The third book is Orson Scott Card’s How To Write Science Fiction and Fantasy. Great world building chapter.

For historical stories the wrong word can jolt the reader out of the story, Also too much usage of the right words such as dialect can send a reader searching for another book. Sometimes the word can be right but it seems too modern to the reader. Take pothole. There have been potholes that were called just that during historical periods as well as today. A friend had to change pothole in her book because an editor felt the word was modern. Also remember when you’re searching for a word to use is that words can change meaning.

In contemporary stories language plays a role in creating the dream. Every career choice, region of the country have specific words. There’s argot, cant, slang whatever you choose to call these expressions, using one of these words can point to a specific area or career.

For example, I’m from Pittsburgh. When company’s coming I’m apt to red up the house rather than clean.

If a character says “Heart attack:” we might think lay person but if "Cardiac arrest,” is used we think of medical personnel.

He aimed his piece, or his gat or his gun or his Glock. Those words can change an opinion of a character and of the world he or she inhabits.

One good thing about writing a contemporary story is there are experts to interview who can provide language and information to help build your world. These people are almost always happy to talk to a writer.

Actually when doing an interview I had an interesting event. How I was nearly arrested for murder.

I needed to speak to a policeman to learn when I could schedule a murder victim’s funeral as this led to the climax of the story. My daughter had a friend from school who became a policeman. He had been at the house many times and was semi-adopted into the family. I called his off-duty phone and left a message for him to call me back.

A few hours later he returned the call. “What’s wrong? What can I do?” he asked.

“It’s about this woman I just murdered. How long before she can be buried.”

Then I heard. “No, Guys settle. She’s a writer.” There was a pause. Then he said, “Ma, I’m at the station. You’re on speaker.”

World Building Part 2 - Putting Your Reader Into The World

PURCHASE FROM AMAZON

How do you start to build your dream world? If you’ve lucky and have chosen a world you know or one where you can find volumes of research. Then you rub those mental hands together and think this is a cinch. It ain’t necessarily so.

You’ve chosen today’s world in a town you can find your way around blindfolded. Your reader doesn’t know the world so you much provide them with information to draw them into the time and place you’ve chosen.

I often use a hospital setting in my contemporary stories. I’m a nurse so I’m familiar with the venue. Follow me back in time to the day I finished my first complete novel. The book was sent off. With the rejection letter came a helpful hint. “Your characters are existing in a vacuum/” I rewrote the book piling on the physical set up of the hospital, the unit and the patient rooms. Sent the book off again. Rejected again with this hint. "You definitely have shown me the hospital but your descriptions haven’t put me there. Try using the senses.”

I was fortunate. In those days editors wanted the full manuscript for fiction. Seldom happens today. So it’s up to you and me to create a setting the reader can step into.

One way to define a setting is to go from the large to the small.

Here’s an example from Wolfblade by Jennifer Fallon.

The hall was massive. Sixteen glorious cut crystal candelabras showed warm yellow light over the numerous arrivals. Musicians in a corner tuned their instruments. She caught a view of the handsome smartly dressed young men who had come to the ball.

As you’re establishing the setting, research is needed to help you focus on your world. Maps, descriptions and pictures of settings, houses, and furniture can be found in books or the internet. Since some of my stories are fantasies, I have copies of Archaeology and National Geographic to look for places and ruins I can use. Television programs can provide needed information.

I’ve published 2 books set in an alternate Egypt. They’re a cross between alternate world and pseudo-time travel. A documentary about camels taught me something I needed to know since I had first just wanted to use the ancient Egypt at the time of the Hyksos invaders. Wrong. Though there were horses present at this time there were no camels. I wanted camels so I created an alternate ancient Egypt.

When weaving word tapestries a light touch is good. Vivid words well chosen are a plus. Bogging the story down with volumes of data and description send a reader to find another adventure.

I judge a number of contests for unpublished and published writers. One was for the first chapter of a book. The first paragraph introduced me to a pair of intriguing characters. Then page after page the writer took me on a tour of a costal road detailing everything seen in glowing detail. Though the descriptions were vivid, nothing happened and earned the writer a low score.