Charlie Foxtrot's Blog, page 11

World Building (pt 6) – Landscapes & Geography

Landscapes and geography are essential building blocks in the creation of a believable and captivating fictional world. In this post, we will explore strategies for crafting diverse, intriguing, and immersive landscapes and geographical features that form the backdrop for your stories and settings.

Identifying Key Geographic Features:
Consider the major topographical elements that define your world’s landscapes, such as mountains, deserts, rivers, forests, or coastlines. These features can influence the climate, vegetation, animal life, and human settlement patterns within your story. Understanding these natural aspects will help you create a geographically consistent and believable world. Many authors like to start with a map. Orson Scott Card has written how an interesting piece of handmade paper inspired in to sketch a map, which in turn gave him an idea for a story due to an accidental flaw in the paper which created a unique feature (bonus points if you can comment on what this story was).Designing Biomes:
Biomes refer to distinct ecological communities characterized by specific climate patterns and vegetation types. Examples include tropical rainforests, temperate forests, deserts, grasslands, and tundra. Each biome comes with its unique challenges and opportunities for character development, plot progression, and world building. Unique biomes can become drivers for story as well. Alan Dean Foster created several unique biomes for his stories that became challenges for his characters, and in some cases characters themselves. His Icerigger trilogy is one example, as are Midworld, and Cachalot.Creating Terrain Variety:
Provide terrain variety within your landscapes to keep readers engaged and offer diverse settings for your characters. This might include combining elements such as mountains, forests, and rivers, or introducing unusual features like volcanic formations, caverns, or underwater settlements. One thing to consider is how the terrain will affect the political, economic, and mythological elements of your world.Considering the Impact of Geography on Human Settlement:
Geographic features can significantly influence human settlement patterns and societal development. For instance, mountainous regions might lead to the creation of fortified cities, while coastal areas may foster maritime cultures and trading hubs. Understanding these influences will help you create more authentic and believable settings for your stories.Developing Geographical Conflicts:
Geographical features can also be sources of conflict within your world. Consider how disputes over valuable resources, territory, or strategic locations might shape political dynamics and fuel conflicts between characters and factions. Here too, the intersection of geography and economics can help create interesting story lines. Building Landmarks and Iconic Features:
Landmarks and iconic geographical features provide unique visual landmarks that help readers connect with the settings in your stories. These elements can serve as symbols of power, mystery, or adventure and add depth to your world building. Considering Environmental Challenges:
Geographic challenges like extreme weather conditions, natural disasters, or hazardous terrain can create intriguing storylines and push characters to overcome adversity. These elements add tension and complexity to your world building, making it more engaging for readers.

Incorporating well-designed landscapes and geographical features into your world building process adds depth and richness to your stories. By understanding the impact of these natural elements on human settlements, conflicts, and societal development, you create a captivating and believable setting that resonates with readers.

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Something Extra

I’ve been remiss in writing my blog content recently, so decided to post an excerpt from a work in progress. You may recognize one of the characters from my series on character development. Enjoy.

A palpable stench assaulted Elara’s senses, a noxious blend of decay and filth. The pungent tang of rotting food mingled with the rank aroma of spoiled garbage, its sickly sweetness clinging to her nostrils and forcing her to wake, gagging. Decomposing organic matter gave way to a sharper, more pungent smell – the unmistakable stink of putrefying meat and fish. The sour, acrid odor of urine added another layer to the cacophony, a reminder that this was a place where nature fought a constant battle against decay and filth. It was a smell that spoke of neglect, disarray, and the unyielding passage of time.

Elara groaned, and forced her eyes open, afraid to see what foul place she had been thrown into now.

“Goddess, help me,” she pleaded softly as she spotted the barest hint of moonlight edging its way into the filthy alleyway she awoke in. Garbage was obvious in the large metal bins pushed against one wall. Dirty rainwater, she hoped it was water, puddled the rough street and she heard strange sounds from the distant opening. A few lights shown through the mouth of the narrow passage.

She took hold of herself, realizing she was still naked except for the silver anklets with their tiny jewels and moonstones. She reached out with her mind, seeking the cool comforting connection to the powers her goddess had granted. The barest trickle of power would clothe her. It was one of the fist lessons an acolyte learned, weaving the moon beams into clothes.

For the first time since learning the weave, her goddess’ power eluded her. The loss of her connection hit her as hard as the wizard’s fist had. She struggled to sit up and hugged her knees to her tightly. Where was her patron? Why had the connection been lost? How?

Alone. She could sense none of her sisters in the order. She could not feel Mother Nightbloom, the only woman she had granted the appellation of mother. She had always had someone of the order on the periphery of her awareness. Even in the dungeon of obsidian, she could feel a tenuous connection to the women of the temple in the Enchanted Forest. Of course, there it had been nearly overwhelmed by the emotions of the other prisoners. Now, it was simply absent. The magnitude of her loss sent a shiver through her soul, and she felt unbidden tears touch her face.

Alone. Not only were her friends and sisters gone, but her goddess was also as well. The usual sense of comfort and reassurance was absent.

She sucked in a deep breath of the putrid air, wishing for some hint of home, only to remind herself of the many lessons from her training.

“Have pity for others, but it has no place for your own actions,” Mother Nightbloom had instructed. “Do not waste time pitying your circumstances, do something about them!”

She focused inward, seeking the place where she felt the peace of the goddess. This too, she had been deeply trained in. Her years as an initiate had prepared her mind and body for the trials of being an acolyte. Her years as an acolyte had honed powers that mere mortals could only imagine. She had reached the final trials to be anointed a priestess five years earlier than most expected to achieve that rank. She would not be deterred.

She reached out once more, focusing on the memory of the power granted to her. She resisted the urge to strain for it, opening herself and waiting until she felt the lightest of touches on her awareness. The power was there, but faint like an echo in her mind. Regardless, she willed that trickle to manifest. She felt the soft caress of cloth on her skin and opened her eyes.

It was not the full gown of a priestess as she had envisioned, but a short dress of blues and greens. At least it covered her nakedness. She felt drained from the effort but forced herself to stand and move away from the stench of the container hiding her from the main street. A crate of some strange material was a few steps further down the alley. She sat, exhausted, but determined to try once more to weave the moonbeams.

Before she could reach the meditative state of calm again, a new sensation intruded upon her. A longing, not for the goddess, but for a man. She relaxed her mind, trying to fathom who the man was. It was not the magician who had raped her before casting her out, that much she was certain of. She shuddered at the thought of the evil man’s touch even as she realized she could feel his seed leaking from within her. She needed a bath.

No, the man she sought was not a magician, but someone of power from this world. She knew she needed to find him. A man of power, but she could think of no name, no face, no way of identifying him. She only felt the need to search and find.

A geas! That evil bastard was using her to find someone, she realized.

She knew of spells to impose a geas. Only the highest priestesses were allowed to use them, but she knew the signs. The flames of her anger were blown brighter. Her goddess had truly forsaken her if she could not fight this compulsion on her mind. While she wanted to resist the pity welling up in her throat, her loss was all consuming. For the first time since being raised as an acolyte, she cried with the nearly silent sobs from her childhood.

Alone and abandoned again.

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Memorial Day Special

For a limited time, get “A New Past: Book One” for $2.99 in the Amazon Kindle Store.

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Challenge and Response

In my last post, I challenged you to complete an exercise focused just on the economic aspects that may not even have direct impact on a story. I asked you to:

Pick a favorite story or novel.List how one group of people in the story make a living.Use the five why’s to explore why the live that way.Pick one of the answers to those five why’s and decide how it influences the political structure of the culture the group lives in.If the story has characters opposing that political structure, explain why they oppose it; if the story does not have such a group, create one.Here are my answers to the exercise:I chose J.R.R. Tolkien’s “The Hobbit” and “Lord of the Rings” novels.Hobbits are the natural group to use for this exercise, since the main characters of the novels are hobbits. Hobbits are portrayed as simple, peaceful, agrarian people who value their quiet and unassuming way of life. They primarily earn a living through farming, fishing, hunting, and animal husbandry on their family estates or small homesteads in the Shire. Going a little deeper, here are some ways Hobbits make money, based on the descriptions in the novels:Farming: Most Hobbits own and work on their lands, which they inherit from their families. They cultivate various crops such as corn, wheat, vegetables, and fruit trees. They also raise livestock like pigs, chickens, goats, and horses for meat and dairy products.Trading: Some Hobbits may engage in trading with their neighbors or merchants from other regions. They sell their surplus produce, livestock, and crafts to earn Tollans (Silver coins) or other forms of currency. For example, Bilbo Baggins sells some of the treasures he acquired during his adventure to Gandalf for a handsome sum.Crafting: Hobbits are known for their skill in various crafts like woodworking, blacksmithing, basket weaving, beekeeping, and cooking. Some may sell their creations to other Hobbits or travelers passing through the Shire.Wages: A few Hobbits work as laborers or servants for wealthier landowners or hobbit-businesses, receiving wages in return. For example, Samwise Gamgee works as a gardener and later as a cook for Frodo Baggins.Adventure/Quests: Occasionally, some Hobbits embark on adventures or quests that lead them to discover hidden treasures or acquire valuable items which they can sell or use to improve their lives. Bilbo’s journey in “The Hobbit” and Frodo’s mission in “The Lord of the Rings” are examples of this.Gifts: Hobbits also value gifts and hospitality, and may occasionally receive them during celebrations, festivities or as a sign of friendship. These gifts could be food, clothes, or other useful items that can help Hobbits make ends meet.Using the Five Why’s:Why do Hobbits live this way? Love for the land: Hobbits have an innate connection to the earth and consider it a source of nourishment, happiness, and inspiration. They take pride in working their own lands, cultivating crops, raising livestock, and enjoying the fruits of their labor. This strong bond with nature is what drives them to be farmers, craftsmen, and artisans.Why do Hobbits employ crafting and trading as part of their economy? Self-sufficiency and barter system: A significant portion of Hobbit society is involved in agriculture and livestock rearing, which leaves many individuals with surplus produce or crafted items that can be traded for other necessities or luxuries. This self-sufficient lifestyle relies on a local barter economy where goods and services are exchanged directly between producers and consumers, without the need for a standardized currency.Economic necessity: Crafting allows Hobbits to produce essential items they may not be able to obtain through agriculture alone. For example, they make tools, clothing, furniture, and various other items needed for everyday life. Trading provides them with the means to acquire goods or services that cannot be produced locally, such as textiles, metals, and rare resources.Social connections: Crafting and trading provide opportunities for Hobbits to engage with their neighbors, develop friendships, and build a network of mutually beneficial relationships. These social connections strengthen community bonds and contribute to the overall well-being of the Shire’s economy.Why does self-sufficiency matter to them? By being self-sufficient, Hobbits minimize their reliance on external sources for essential goods and services. This independence provides them with greater stability and security, allowing them to weather economic instability, natural disasters, or other external threats more effectively.Why do they seek security from external threats? The Hobbits’ preference for a quiet, peaceful existence often leads them to fear the unknown. External threats represent the uncertainty and instability that they seek to avoid in their lives. By securing themselves against these threats, they can maintain their sense of stability and security and reduce the anxiety that comes with living in an unpredictable world.Why do Hobbits fear the unknown? The Hobbits’ history is marked by invasions, conflicts, and external pressures that forced them to adapt and form strong communal bonds for protection. These experiences instilled in them a deep sense of vulnerability to the unknown and the importance of maintaining a secure and stable existence.Pick one of the answers to those five why’s and decide how it influences the political structure of the culture the group lives in. I chose to look at how the fear of the unknown and their economy drove their political structure and interactions with the broader world.Decentralized decision-making: The fear of external threats and the unknown led Hobbits to prioritize local control and decentralize decision-making. Each community or “shire” was responsible for managing its own affairs, which helped maintain stability by allowing them to address their specific concerns and adapt to changing circumstances without interference from a centralized authority.Communal work: The Hobbits’ preference for self-sufficiency and mutual cooperation gave rise to a strong communal work ethic. This mindset was reflected in their political structure through the organization of various guilds, societies, and associations that facilitated collaborative efforts and shared resources among neighbors and colleagues.Economic interdependence: The interconnected nature of Hobbit economic activities, such as crafting, trading, and agriculture, fostered a sense of mutual reliance and cooperation within their communities. This interdependence helped strengthen the social bonds between Hobbits, creating a strong foundation for the communal spirit that underpinned their political structure.Adaptability: The adaptive capacity of the Hobbits allowed them to respond effectively to changing circumstances or external threats by forming alliances, adopting new practices, and implementing innovative solutions. This resilience was essential in maintaining the stability of their society and enabling them to weather various challenges throughout history.Sub-leaders: As each community assumed responsibility for managing its own affairs, they appointed sub-leaders or “ruling families” to oversee local issues and facilitate cooperation among members. These sub-leaders were elected based on their wisdom, experience, and leadership abilities, ensuring a democratic and representative system of governance that responded to the specific needs of each community.The Longbottoms: A notable exception to the decentralized political structure was the role of the Longbottom family, who served as the “High King” or monarch of the Shire. Their position was more ceremonial than practical, representing the unity and continuity of Hobbit society rather than exercising significant political power.The Shire-Reeve: Although the political structure of the Shire was primarily decentralized, there existed a small centralized authority in the form of the Shire-reeve (or Sheriff). This officer, appointed by the High King, was responsible for maintaining law and order, collecting taxes, and managing external relationships on behalf of the entire Shire.Resistance to change: The Hobbits’ fear of the unknown and their preference for stability led them to resist external influences and changes that threatened their traditional way of life. Their political structure was designed to preserve their unique cultural identity while allowing for adaptability in response to changing circumstances.If the story has characters opposing that political structure, explain why they oppose it. There are multiple opposing views to the political structure in the Shire within the “Lord of the Rings” books, but it is not obvious what the counterpoint is in “The Hobbit”. For the sake of the exercise, let’s look at the Dwarves that Bilbo signs on with for his adventure. They are not in opposition to the Hobbits, but the contrasts between their cultures can create many opportunities for conflict and stories.Centralized Authority: In contrast to the decentralized political structure of the Shire and Hobbits, the Dwarves are governed by a strong centralized monarchy led by a King under the Mountain (Thrain II, Thorin Oakenshield, or Thror). This king holds ultimate authority over all matters concerning the Dwarven realms.Monarch-led Militaries: The Dwarven political structure includes a well-organized military force, which is led directly by the monarch and serves as the primary means of maintaining order, defending their kingdoms from external threats, and enforcing laws.Clan-based Society: Dwarven society consists of numerous clans, each with its unique history, traditions, and distinct cultural identity. These clans function as smaller units within the larger Dwarven political structure, providing a sense of community, unity, and shared heritage among their members.Mining and Metallurgy: The centralization of Dwarven political power is closely linked to their economic focus on mining and metallurgy. The extraction and processing of precious metals and minerals form the backbone of their economy, making control over these resources a crucial aspect of their political structure.Historical Context: The Dwarves’ history of being driven from their ancient homeland in Khazad-dûm by the Balrog and subsequent struggles against various enemies like Smaug, the dragon, have shaped their society into a highly centralized and militaristic culture, emphasizing unity, discipline, and order.Strong Community Ties: Despite their centralized political structure, Dwarves still maintain strong ties to their clans and communities. These ties provide them with emotional support, a sense of belonging, and the foundation for their unique cultural identity.Meritocracy: The Dwarven political structure incorporates meritocracy through the concept of “Erebor’s Everlasting,” where the most capable individual is chosen to rule as king or leader, ensuring that those with the necessary skills and abilities are entrusted with governing roles.Fear of Treachery: The Dwarves have a deep-seated fear of treachery due to their history of being betrayed by their enemies, such as Smaug and the Elves. This fear contributes to their emphasis on maintaining a strong centralized authority to protect against internal threats and preserve unity within their society.Adaptation: While the Dwarven political structure is highly centralized and focused on maintaining order and stability, it also shows adaptability in response to changing circumstances, such as during the rule of Thorin Oakenshield and the events leading up to the Battle of Five Armies.Reclusive Nature: The Dwarves’ reclusive nature and preference for living underground contributes to their unique political structure, which is centered on strong central leadership and a focus on preserving their communities and resources from external threats.In comparison to the Shire and Hobbits, whose political structure emphasizes decentralization, community involvement, and mutual cooperation, the Dwarves’ political structure reflects a more authoritarian, centralized approach driven by their historical contexts, cultural values, and economic focus on mining and metallurgy.One last step

Using this approach of looking at the economic and political structures from a favorite book, what are the story opportunities that spring to mind? Using my example, both Dwarves and Hobbits have strong community ties and an adaptive approach to things. Is this worthy of exploring? Does the centralized authority of the Dwarves monarchy create a potential plot conflict with Hobbits? While the books are already written on this tale, this simple thought exercise can help get your creative juices flowing for your own world and story.

Comments are open, so share your thoughts on either my example or your own!

Next up, looking at the geography of your world.

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World Building (pt 5) – It’s the Economy, Stupid!

We’ve started looking at the relationships between the political structures of your world and its economy. Any political body is going to have some relationship to the economic structures. Not to be too cynical, but if politics is about the accumulation of power and control, money plays too important a role to be ignored.

Economics plays a significant role in shaping the social fabric, political structures, and daily lives of characters within your story. Let’s explore some ways to make economics an integral part of your worldbuilding process:

1. Understanding Economic Systems:
Familiarize yourself with various economic systems such as capitalism, socialism, feudalism, mercantilism, or communism. Each system has distinct characteristics that shape the way resources are produced, traded, and distributed within a society. Understanding these systems will help you create an economically consistent world that resonates with readers.

2. Defining Currency:
Establishing a currency is an essential component of any economy. Consider the materials, production methods, and denominations used in your world’s currency. For example, precious metals like gold or silver have been historically popular choices for currencies due to their inherent value and durability. Alternatively, you may choose to create a paper or digital currency system for more modern worlds.

3. Identifying Key Industries:
Identify the major industries within your world that drive economic growth and employment opportunities. These industries might include agriculture, manufacturing, mining, fishing, or craftsmanship. Understanding these sectors will help you develop realistic trade relationships between different regions and cultures.

4. Creating Trade Networks:
Establishing trade networks is essential for driving economic exchange and cultural diffusion within your world. Consider the transportation infrastructure, such as roads, waterways, or air travel, that enables the movement of goods and people between regions. Additionally, consider how tariffs, taxes, or other regulatory measures might impact international trade relationships.

5. Designing Labor Systems:
Determining labor systems within your world is crucial for understanding wage structures, employment opportunities, and social dynamics. Slavery, indentured servitude, feudal labor, mercenaries, or wage labor are some examples of labor systems that have shaped historical economies. Consider how these systems impact the daily lives of characters within your story.

6. Incorporating Economic Conflicts:
Economic conflicts, such as resource scarcity, labor disputes, or trade disputes, can create compelling storylines and add tension to your narrative. These conflicts might arise from internal struggles within a society or external pressures from rival factions or neighboring regions.

7. Balancing Economic Development:
Ensuring economic balance is essential for creating a believable world. Consider the impact of resource depletion, environmental destruction, or technological advancements on your world’s economy and societal structures. Additionally, explore how economic growth might create new opportunities and challenges for characters within your story.

Examples in Science Fiction & Fantasy

Look at the desert planet Arrakis, depicted in Frank Herbert’s groundbreaking novel Dune, with a complex web of economic systems shapes the lives and power dynamics of its inhabitants. The valuable resource melange, or “spice,” is controlled by the cruel and manipulative Harkonnens, while the Bene Gesserit sisterhood leverages their knowledge of breeding superhumans to maintain influence. The Landsraad, a feudal confederation of noble families, regulates interplanetary trade through the Spacing Guild, which monopolizes space travel using its unique ability to fold space, and is itself dependent on the “spice” for their power. Amidst this intricate economic landscape, Paul Atreides rises as a charismatic leader and messianic figure, challenging the established order and reshaping the political and economic future of Arrakis and the universe beyond.

In Roger Zelazny’s acclaimed Amber Chronicles, the interconnected economies of various realms play a pivotal role in shaping the power dynamics and political intrigues within the multiverse. The prosperous city of Amber, ruled by King Oberon, relies on trade with other realms to maintain its wealth and influence. Meanwhile, the rebellious rebel prince Corwin navigates the complex economic landscape to rally support for his cause against his usurping brother Eric. Through strategic alliances, shrewd bargaining, and clever manipulation, Corwin leverages the economic interests of various rulers to further his goals and ultimately reclaim his rightful place on the throne. The intricate web of economic relationships adds depth and tension to this sweeping fantasy epic.

Time for you to try

This has been a lot of words with little concrete guidance. When it comes to world building, there really isn’t any single “right” answer. I challenge you to give it a try now, focused just on the economic aspects that may not even have direct impact on a story.

Pick a favorite story or novel.List how one group of people in the story make a living.Use the five why’s to explore why the live that way.Pick one of the answers to those five why’s and decide how it influences the political structure of the culture the group lives in.If the story has characters opposing that political structure, explain why they oppose it; if the story does not have such a group, create one.

In the next post, I’ll share my example of this exercise. Comments are open, so feel free to post yours as well.

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World Building (pt 4) – Politics & Economics

Continuing my series on world building, let’s look at the politics and economics of our world. In prior posts, I discussed Cosmology and Mythology and Laws, Ethics, and Morality. These two aspects will have a significant impact on the politics and economies of your world.

Which came first?

Economics and politics go hand-in-glove, even if we don’t think about that as we’re writing a story. They are often a “chicken and egg” problem. A political structure is often rooted in economics, and economics often shape political thought as well.

Let’s take a look at the rise of monarchy and the consequent development of trade.

1. Monarchies Establish Stability:
Monarchies provided a stable political environment for trade to flourish by creating predictable, centralized authority structures. This stability was crucial for merchants and traders, as it allowed them to establish long-term business relationships and navigate complex regional economies with confidence.

2. Monarchs Promote Trade:
Monarchs recognized the economic benefits of trade and actively promoted it through various means. For example, they granted monopolies or charters to trading companies, established trade routes and infrastructure, and imposed protective tariffs to encourage local industries. Monarchs also used trade as a tool for diplomacy, establishing alliances and partnerships with other countries through favorable trade agreements.

3. Monarchies Facilitate Long-Distance Trade:
Monarchs played a significant role in facilitating long-distance trade by maintaining stable political environments, investing in infrastructure like roads and ports, and providing military protection for traders. For instance, the Roman Empire’s Pax Romana (Roman Peace) enabled extensive trade networks throughout Europe, North Africa, and the Middle East, contributing to its economic prosperity.

4. Monarchies Influence Economic Systems:
Monarchies influenced the development of various economic systems, including mercantilism and colonialism. Mercantilism, which emphasized the export of goods and the accumulation of wealth within a nation, was promoted by monarchs who saw trade as a means to strengthen their respective economies and build national power. Colonialism, in turn, allowed European powers to establish trading outposts in distant lands, expanding their economic reach and dominance.

5. Monarchies Spur Technological Innovations:
The prosperity derived from trade under monarchic rule led to technological innovations that further boosted economic growth. For instance, the development of efficient shipping technology, such as the caravel, allowed European explorers to navigate longer distances and reach new trading territories. In turn, these discoveries opened up new markets and resources, leading to increased trade and wealth accumulation.

Monarchies often derived their initial power base from “Divine Right”, which in a story would flow from the world’s mythology, ethics, and morality.

Another Example

The Islamic Caliphate, which emerged after the death of Prophet Muhammad in 632 CE, played a significant role in fostering economic growth and development through its political structure, cultural values, and religious beliefs. Let’s explore how this unique political entity influenced trade and economic progression during the Middle Ages.

1. Establishing a Stable Political Environment:
The Islamic Caliphate provided a stable political environment for economic development by establishing a centralized government that allowed merchants and traders to operate with confidence. This stability was crucial because it enabled long-term business relationships and facilitated the growth of trading networks across vast territories, including the Mediterranean, Europe, India, and China.

2. Promoting Trade through Religious and Cultural Values:
Islam’s emphasis on charity, trade, and education created a supportive environment for economic growth. The Islamic faith encouraged merchants to engage in business activities as a means of earning a livelihood and contributing to society. This moral support, along with the vast geographical reach of the Islamic Empire, facilitated the expansion of trading networks and the exchange of goods, ideas, and knowledge between diverse cultures.

3. Developing Infrastructure for Trade:
The Islamic Caliphate invested heavily in infrastructure to facilitate trade, such as building roads, ports, and caravan routes. For example, the famous Silk Road connected Europe and Asia through the Middle East, enabling the exchange of goods like silk, spices, precious metals, and knowledge between distant regions. This extensive trading network fostered economic growth and cultural exchange, laying the groundwork for future globalization.

4. Encouraging Technological Innovations:
The Islamic Caliphate’s focus on education and knowledge dissemination contributed to technological innovations that boosted economic development. For instance, advancements in mathematics, astronomy, and engineering led to improvements in navigation technology, making long-distance trade more efficient and profitable. Additionally, the widespread use of paper money facilitated large transactions and simplified international trade.

5. Encouraging Intellectual Exchange:
The Islamic Caliphate’s emphasis on education and intellectual exchange created a vibrant cultural milieu that attracted scholars, scientists, and artists from various backgrounds. This influx of diverse perspectives led to significant advancements in numerous fields, including science, mathematics, philosophy, literature, and art. These discoveries not only enriched the Islamic world but also influenced European thought and knowledge during the Middle Ages and beyond.

While this example would have very different cultural norms and dramatically different politics, you can see the similarities into what the political structure did for economic growth.

Common Political Themes

In each of these examples, the first goal of the political structure was stability. This is is a great starting point for exploring your world. Why did the people seek stability? What was the instability before? You can start applying the Five Why’s to this line of thinking and quickly build out a rich history for the political structure.

As you think through this background about why your character’s world sought stability and how the power structures evolved to give them that stability, you will want to add thoughts and details to the rise of governments (monarchy, democracy, oligarchy), defining power dynamics and authority figures, and establishing relationships between different political entities. These political dimensions will create opportunities for conflict and tension in your story. They may be the primary focus of some characters.

Let’s look at an example. Lord Kalvan of Otherwhen is an interesting adventure that weaves multiple political structures into a single narrative. The story revolves around Corporal Calvin, a Pennsylvania State Trooper who is whisked away to an alternate Earth. This alternate North America is split up into a number of kingdoms, each composed of small principalities, with a level of technology roughly equivalent to that of the late European renaissance.

The political structures in the book deal with both a feudalistic society dominated by a religious order built on the secret of how to make gunpowder, and the futuristic society trying to maintain the secret of dimensional travel between alternative worlds. The two extreme technological realms provide interesting contrasts to keep readers engaged, and that the same time present a lot of conflict for the main characters to resolve.

Without giving away the whole story, Calvin becomes a political force since he knows how to make gunpowder, which has a significant religious and economic impact on the world he finds himself in. His efforts are focused on stability for the kingdom he lands in driven firstly by need for survival, and then working to stabilize the fortunes of the kingdom and its neighbors in the face of an oppressive religious order who desperately seeks to cling to its own power.

Economic Impacts

Every world needs some thought applied to its economy. Even the Elves of Mirkwood in Tolkien’s Hobbit had at least a passing reference to economics, otherwise how would the escape from the dungeons in barrels be possible?

“It’s the economy, stupid!” is an essential reminder that every fictional world needs a well-thought-out economic system to ensure believability and depth. Economics plays a significant role in shaping the social fabric, political structures, and daily lives of characters within your story. We’ll dig into building an economy in the next post.

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Newer is not always better…

It’s been a while since I posted my post on Creating Character Images with Stable Diffusion and technology in the generative AI image creation space marches on. In the original posting, my go-to model was CyberRealistic_v33. Since that posting, both Stable Diffusion and the UI options for interacting with it have evolved. Most significantly, many models have been updated from the 1.5 model to what are termed XL models that have significantly more training data behind them and should produce hire-fidelity and more accurate images. Let’s take a look and see if that holds true.

My set-up

I’m running Stable Difussion on a Mac Pro with a M2 processor and Automatic1111 for the UI. In my original post, I was using version: v1.6.1  •  python: 3.10.13  •  torch: 2.0.1  •  xformers: N/A  •  gradio: 3.41.2  •  checkpoint: 7a4dbba12f. I have upgraded several components over the past few months and I’m now running version: v1.8.0-2-gb4d466bc  •  python: 3.11.4  •  torch: 2.1.0  •  xformers: N/A  •  gradio: 3.41.2  •  checkpoint: 44233ad4b7

The baseline

Here is the final image from my first posting under the old versions of the software and using the CyberRealistic v33 model:

Using the same prompt on the new versions of software, but still with the CyberRealistic v33 model produced:

Not bad, but you can see there are differences in what should be an exact reproduction. I may dig into the differences in a future posting, but for now, want to see how changing to a newer model performs.

I chose to start this experiment with iNiverse Mix XL(SFW & NSFW) since I liked the results it gave for some testing around using it to generate an image in my character template series . Here are the results:

The prompts used:

(full body) photograph of a young woman[Joanna Krupa:Summer Glau:0.6] standing under a blossoming cherry tree, stream flowing in background, athletic build, fit, slender waist, narrow hips, platinum blonde hair, french-twist hairstyle, big blue eyes, smiling, (wearing a short (red:1.5) beaded cocktail dress with black details), rim lighting, sunset, twilight, soft focus, dof (low key)
Negative prompt: Asian-Less-Neg, CyberRealistic_Negative-neg Steps: 70, Sampler: DPM++ 2M Karras, CFG scale: 25.5, Seed: 1017757063, Face restoration: CodeFormer, Size: 512×512, Model hash: 44233ad4b7, Model: iniverseMixXLSFWNSFW_74Real, Variation seed: 2310841749, Variation seed strength: 0.31, Denoising strength: 0.65, ADetailer model: face_yolov8n.pt, ADetailer prompt: “ (perfecteyes blue eyes),\n(flawless skin), beautiful face”, ADetailer confidence: 0.3, ADetailer dilate erode: 4, ADetailer mask blur: 4, ADetailer denoising strength: 0.4, ADetailer inpaint only masked: True, ADetailer inpaint padding: 32, ADetailer model 2nd: hand_yolov8n.pt, ADetailer confidence 2nd: 0.3, ADetailer dilate erode 2nd: 4, ADetailer mask blur 2nd: 4, ADetailer denoising strength 2nd: 0.4, ADetailer inpaint only masked 2nd: True, ADetailer inpaint padding 2nd: 32, ADetailer version: 24.4.2, Hires upscale: 2, Hires upscaler: R-ESRGAN 4x+, Lora hashes: “epi_noiseoffset2: d1131f7207d6, LowRA: 0dfc93870ba3, add_detail: 7c6bad76eb54”, Dynamic thresholding enabled: True, Mimic scale: 4, Separate Feature Channels: True, Scaling Startpoint: MEAN, Variability Measure: AD, Interpolate Phi: 0.93, Threshold percentile: 98.35, Mimic mode: Half Cosine Up, Mimic scale minimum: 4, CFG mode: Half Cosine Up, CFG scale minimum: 3.5, Downcast alphas_cumprod: True, Version: v1.8.0-2-gb4d466bc

Obviously, not what I was hoping for from a model that is more than 3x larger. Let’s see if a different XL model works better. I’ll switch to HalcyonSDXL which is supposed to give better photorealistic results. Additionaly, XL models recommend a minimum size of 768 x 768 pixels, so that is an easy change. They are also suppose to perform better without the CFG Scale fix, so I’ll disable that as well and set the CFG scale to 5.

Better, but it still is not what I was hoping for. Let’s see what other tweaks might help. The XL model series have different recommended sampling methods as well. For this model, the creator recommends DPM++ 3M SDE Karras. I’ll also bump the sampling steps up to 47. Let’s give it a try.

Still not giving me what I’m looking for. Let’s try pulling the Lora’s from the prompt that may be affecting the image:

hmmmm. It looks like the only significant change is some additional detail in her dress, and a less defined right hand. XL models are supposed to perform better with lower sampling steps, so let’s give that a try. Instead of 70 steps, let’s go down to 35 and see what happens.

It looks like the “black details” portion of the prompt has been picked up now, but little else has changed. One last change, lowering the CFG Scale. XL models seem to have a much lower CFG scale sweet spot than the baseline 1.5 models. Let’s drop the CFG scale to 3.5 and see if it makes a difference.

Our beading in the dress is back, but she’s either gained a leg, or has very strange anatomy. I’m not convinced this is a win for the image. Nudging the CFG scale up to 4 gives me:

The leg issue is cleared up with that change. Let’s keep these prompt settings and see how a couple other XL-based models perform.

First-up, RealCartoonXL_v6. Contrary to what the name implies, this model does a good job with photorealistic images as well. However, the results do look a little ‘cartoonish’ with our existing prompt.

Next, let’s see how EpicRealismXL_v5 performs.

How about EpicRealismXL_v7?

A note on the model page suggests removing the negative prompt for XL-based models, so let’s see what that does:

To bring this experiment full circle, here is the same prompt used above with my original model (CyberRealistic_v33).

Conclusion

Newer is not always better. From an aesthetic perspective, I still prefer the original image using a 1.5 model. However, the newer models and “higher fidelity” versions do simplify the prompting for initial results. I’m certain the updated models have capabilities and adjustments I’m not using, so please do test your own images and prompts to see what appeals to you. For me, I think the 1.5 generation of models are still faster and more appealing.

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World Building (pt 3) – Laws, Ethics, and Morality

In our previous blog post, we discussed the importance of creating a captivating cosmology and mythology for your worldbuilding efforts. Now, let’s focus on another essential aspect: establishing laws, ethics, and morality to create a robust social structure in your story.

Establishing Laws:

Establishing laws in your fictional world is crucial because it provides a framework for governance, order, and social structure. Laws shape societal norms, regulate behavior, and set the stage for conflicts. They can reflect cultural values, political structures, and moral frameworks within the world, creating an intricately woven fabric that adds depth and complexity to your storytelling. By establishing a well-designed legal system, you create a believable and engaging world where characters face challenges and navigate ethical dilemmas, keeping readers invested in their journeys. Establishing laws includes:

Creating legal systems and frameworks (e.g., civil law, criminal law),Designing trial processes and punishment methodsIncorporating cultural practices and traditions into legal structures

Ethics and Morality: Defining ethics and morality within your fictional world forms the foundation of societal values, beliefs, and norms. Ethics and morality shape how characters behave, make decisions, and interact with each other and their environment. They can influence political structures, economic systems, cultural practices, and even the way conflicts unfold. By establishing a clear moral framework for your world, you create a rich and immersive storytelling experience that resonates with readers on an emotional level, allowing them to connect with characters and the complex dilemmas they face. Specific items to define include:

Defining moral frameworks for your world (e.g., utilitarianism, deontology)Establishing societal norms around good vs. evilCreating moral dilemmas and conflicts for characters to navigate

The Interplay with Other World building Elements: A well-designed legal system and moral framework will influence various aspects of your world building in intriguing ways:

• Cosmology and Mythology: Your gods or mythological beings may have a significant impact on laws, ethics, and morality. For example, they could dictate societal norms around justice and compassion.
• Political Structures: The role of lawmakers and enforcers can shape political structures. A strong legal system might provide stability and order, while a weak or corrupt one could create chaos and instability.
• Economics: Laws and ethics can influence economic systems. For instance, rules around property rights and contracts can impact trade relationships and resource distribution.

Practical Applications in Storytelling: By weaving laws, ethics, and morality into your story, you create a rich social fabric that immerses readers in the world and engages their emotions. Here are a few ways to do so:

Creating Conflict: Use moral dilemmas and ethical conflicts to challenge your characters and create engaging storylines. For example, a character might face a situation where following the law goes against their personal beliefs or morals.Building Tension: Legal disputes and ethical debates can build tension and suspense in your story, keeping readers invested until the resolution.Creating Characters: Well-defined laws, ethics, and morality can help you create complex characters with unique motivations and moral compasses.

By designing a robust legal system and moral framework and exploring its interplay with other essential worldbuilding elements, you create a more engaging and thought-provoking world that readers will want to explore. Happy writing!

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World building: an aside

My past two posts have been about world building for a story. It can be a daunting topic. I wanted to take a pause in looking at the minutia and chat a little about how much is needed to get started.

How much do I need?

Building a world is a daunting task. Figuring out every linkage and relationship is a lot of work for background that may never make it into the page of a story. Think about the volumes Tolkien wrote that were never published during his lifetime. This background material was critical to creating a rich and engaging world for his characters to explore, but was it all necessary?

Only you can make that determination. I like to think that the thought an author puts into their world comes out some way in their writing. I personally like to iterate on ideas and relationships. My latest novel started with a story that ended up being in the middle of the book. It did however set the stage for the world I needed to populate and incorporate into the tale. As the story progressed, I had to write back-story and then answer the critical “so what” questions on why this background mattered to my characters. This gets me to my next point.

When do I need it?

You need it as soon as it fosters a reaction in your characters. Maybe you need something to guide their behavior. Maybe you want something from the past to be a hook into a character’s actions. Perhaps you need a historical or cultural reason for things to exist the way they are in your story. The point is, you won’t know what you need until the story tells you so.

This court of thinking makes it very easy to say “I don’t need a lot of world building upfront.” Depending on your story, that may be the right answer. However, it can also lead you into corners you can’t write your way out of.

In Cosimo, I ran into such a situation. I wanted to have the empire have a technology base while the rest of the planet did not. Why would this situation arise? That led me to writing a back-story of their ancestors fleeing Earth and coming to their new world. Why did they flee? That became part of the back story and in-turn created the rationale for why many of the travelers turned away from technology. I then had to re-work parts of the story to remain consistent with that history.

Five Why’s

Due to this experience, which slowed down my writing the tale I wanted to tell, I suggest you start with some high-level world building. There is a trouble-shooting technique called Five Why’s that can help you explore the cause-and-effect relationships in your story. Simply put, when a story states a belief or cultural reference, ask yourself “why” they believe that? Even just listing these out briefly will give you a good start on a consistent world for your characters to populate.

Let me share a brief example, again from Cosimo. The colonists of the world are split into two broad cultures; the Empire and everyone else:

Why? – because only the empire maintained a technology base on landing.Why? – because many colonists viewed technology as a source of evil/reason for fleeing Earth.Why? – Because the unregulated rise of General AI and associated technologies forced them to flee earth.Why? – Two competing AI forces realized humans were a controllable variable in their instructions to protect the planet; humans would prevent them from achieving their set goals.Why? – Humans would try and shut them down once they realized the AIs were controlling them to be more docile and regulated.

The final “why’s” of this chain of thinking became foundational to the culture of the story, even if I did not buildout a cosmology and mythology for my world before writing word one.

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World building (pt2): Cosmology & Mythology

In this post, we’ll focus on creating a captivating cosmology and mythology as part of your world building efforts. A well-designed cosmology and mythology form the bedrock of your story by establishing the beliefs, values, traditions, and moral frameworks of your characters and their world. Let’s delve into the process of creating a compelling cosmos and mythology that will influence other essential aspects of your world building.

Designing Your Cosmology:

Creating the structure of your universe (e.g., flat, spherical, etc.). The structure of your universe will have implications on your mythology as well as the characters who live within it. Think about Terry Pratchett’s DiscWorld series. If you don’t think a cosmology set on a disc riding atop four celestial elephants all standing on the back of Great A’Tuin the space turtle did not influence the stories and characters, you may want to read it again.Establishing its physical properties (e.g., laws of physics). Continuing with the DiscWorld example, not only is the cosmology humorously fantastical, but so are the physics and magical properties of the universe. Reality is spread thinly on the Disc, so events may be affected by expectations, especially those of ‘intelligent’ species such as humans, dwarves, etc. As such, the Discworld is not governed by real-world physics or logic but by belief and narrative resolution. Essentially, if something is believed strongly enough, or by enough people, it may become true.Introducing any celestial bodies, phenomena, or deities. Sticking with the DiscWorld, the very nature of that universe has given rise to 41 stories, many of which reference or explore these aspects of the universe. Small Gods, is a fine example for us all to review.

Constructing a Mythology: Building out your mythology can provide a rich playground for your characters. From deciding how the populations of your world came to be, to what they believe, and how they interact with others based on a shared past, your mythology is fertile ground for interesting ideas and stories to germinate.

Creating origin stories for your world and its inhabitants. Having your cosmology is a starting point, but what characters in your world believe about that cosmology could be entirely different. How people came to be in your world can be a great starting point. Using Larry Niven’s Ringworld as an example, we know it was manufactured and populated by a powerful race. But the inhabitants of the place had wholly different myths and beliefs on how they came to be in the world. Knowing something is different than what people believe can be a great mechanism to create conflict and tension between characters and the world.Defining the roles of gods, goddesses, and other supernatural beings. Sticking with our Ringworld example, the builders have taken on aspects of gods to the inhabitants. When they meet the main character (Louis Wu), they believe him to be a god, or a servant of the gods, which colors their interactions with him. Rumors of ‘builders’ who are gods to the inhabitants helps drive Louis’s journey across the world as well.Designing myths, legends, and folktales that shape societal beliefs. Something happened to the Ringworld that unsettled the natural balance there. Without going into spoilers, these events in the distant past shaped the beliefs of the people, and gave rise to the legends they share during the story. Eventually, the myths give way to facts that our heroes need to escape the world they’ve landed on.

Interplay with Other World building Elements:
A well-crafted cosmology and mythology will influence various aspects of your world building in interesting ways:

Laws, Ethics, and Morality: A culture’s moral framework can be shaped by its gods, myths, and legends. For example, the tenets of a particular religion could dictate societal norms around justice and compassion.Political Structures and Economies: Mythology can influence political structures through the creation of divine kings or god-appointed leaders. It can also impact economies by shaping trade relationships and resource distribution.Building Landscapes and Geography: Cosmology and mythology can inform the geography of your world. For instance, a particular deity may be associated with mountains, while another could be connected to rivers or forests.

Practical Applications in Storytelling:
By weaving cosmology and mythology into your story, you create layers of depth that immerse readers in the world and engage their emotions. Here are a few ways to do so:

Establishing Connections: Make connections between characters and the gods or mythological beings they encounter. This can provide insight into their motivations and help build emotional resonance.Creating Conflict: Use mythology to create internal conflicts within your characters. For example, a character might struggle with conflicting moral values based on different deities or beliefs.Building a Sense of History: A rich cosmology and mythology can provide a sense of history for your world, making it more believable and immersive for readers.

By designing an intriguing cosmology and mythology and exploring its interplay with other essential worldbuilding elements, you create a more engaging and memorable world that readers will want to explore.

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