Category Archives: World Info

Returning from Hiatus (and possible fiction coming up)


So as most people who can read this blog know, I just finished a 2000+ mile cross country move. Multiple cats in a car for that long is definitely a recipe for insanity and has given me ideas for new dastardly deeds for some of my villains to perform.  The trip, settling in, and new job related tasks have kept me away for a few weeks (and only posting once a week before I left). Now it’s time for me to jump back into the swing of things, for both this blog and my book (and social media).

This is the first actual hiatus I have taken for a long time (since going down the path of getting the books published), as even when the first book was being edited and prepared for publication, I was still working on the edits and this blog.  This time however I have not done anything writing related, and I want to get back up to shape before jumping back into writing.  I feel like if I just start where I left off in the second Allmother’s Fire book (about two thirds or so the way through) that it won’t be as good  as it can.  I kind of feel like a car engine in an old back up car that hasn’t been used all winter, and now I have to get back to premium shape.

That’s one of the tough things I think for Kindle authors.  Most of us have other jobs and a pretty busy life with our families and friends, and sometimes those things interfere with writing.  It’s OK for that to happen, e-book writing is a marathon not a sprint, and it’s the long term that matters.  At the same time when you do stop for a while because of time consuming events in your life, finding the right way to get back into the groove can be frustrating.

So I am contemplating writing snippets of fiction (possibly even too small to be true stories, something serialized) just to get back into the groove.  I have some other ideas, but it would help both my blog and my story back so that’s what I am considering the most.

The  question is if so, what should I write?  I lean towards setting something in the Allmother’s Fire World, but not directly connected to the current story since that is what I am trying to write in again.  Then again I know a few people who would love anything in the Mandatory Paradise universe, so I am at least considering it . I could do something completely new also, so I really do not have a preference yet.  As always you can write me directly if you don’t want to put them in the comments but either way would help.

Also, although I am often dispensing what I have observed while following this path as a writer to others in this blog, this time I would love to receive intelligent advice if people have encountered other ways to ramp things back up after a hiatus.  Some of the people I would normally ask are actually on hiatus themselves right now, interestingly enough, so I would be more than willing to listen to the tips of others.

World Info

Just leaving you with one small tid bit.  So far in the world of the Allmother’s Fire the only sentient race are humans, and as of book one that is all that appears to exists.  The next book expounds upon this Universe more, and so far as of the current writing there are three other sentient races (well two definitely sentient, and one debatable) and it’s been fun to write.  I’ll let you know none are “standard” fantasy races, although one race can be found in most clockpunk novels.  Some of my reviewers (especially on goodreads) referred to my works as having a sci fi influence, which I had not thought of as much before.  I have a feeling more statements like that will be made in the second book (more in a John Carter of Mars type of sci fi, then in a Star Trek/Star Wars way).


Fleshing out Characters Part One: Motivations and Idiosyncrasies


If characters are little more than excuses for scenes to occur a reader will quickly tire of them.  Sometimes this is not true, as some horror oriented genre stories have little time to flesh out characters before killing them.  The rest of the genres however can keep people hooked by having characters that are more than stereotypes or archetypes, and behave like real people with their own quirks and idiosyncrasies.

One of the first steps to a fleshed out characters is for each one to have their own motivations.  Notice I used the plural of that word. If they only have one, then they remain a stereotype.  For a short period of time the knight who is motivated by his code of honor, the swordsmen who wants revenge for his family, the mother who wants to protect her kids, etc, can be entertaining.  Over the course of a series or even a novel that can make a character seem one note, like they only exist for the single motivation.  To make a character better give them at least three or four motivations.  If possible, have at least one of them be set up for the sole purpose of clashing with the rest, so the character is not entirely predictable.

For example the person who wants revenge for his slain family may also have drives to protect his new (unrelated) family that might put him at odds with revenge (is it worth putting the new family in danger?)  Add a few motivations that are not directly connected to the clashing ones (he also wants to run a successful business, and to charm as many women as he can) and you have a more fleshed out character that in some scenes may have all four of his motivations at odds, and readers won’t be absolutely sure which way the character will go when faced with a challenge.

It helps to not make these completely random (they built a new family to replace the old one, running a business makes them feel accomplished like their father who they will never know, charming the ladies gives them a closeness they will never have with their new or old family, etc) but they shouldn’t all be slight variations on the same theme either.  Often when starting a novel you as the author may only know one or two motivations.  However if you pay attention to the scenes you are writing you may see small nuances in a characters dialogue or reactions that hint at more buried drives, or a even a flashy surface motivation (be the center of attention at all times!)  that stop your protagonist from being just another revenge/protective/heroic protagonist.

Those clashing motivations also underline the another important aspect of a  fully fleshed out character: Idiosyncrasies.  In many ways it’s the things that DON’T fit the stereotype about a character that makes them as memorable as the things we are used to.  Batman, unlike all the other vigilantes DOES NOT USE GUNS.  This sets him apart from the rest and is natural within the character (guns killed his parents) but don’t fit the other modern vigilantes at all.  Some idiosyncrasies happen so often they become a stereotype of their own (fierce large warrior who won’t hurt kids) but still have more depth than if they did not have those aspects that go against the grain of their core concept.

Much like motivations, to make it more real, let the idiosyncrasies flow from the rest of the characters motivations and back story.  The gentle merchant’s daughter who goes crazy and violent when animals are hurt does this because she spent more time with her dad’s horses and the hunting dogs than most people.  The normally taciturn blacksmith who in a bar can’t stop singing loudly with no shame might have had a father who blew off stress every night at the local ale house and have fond memories of when passing it hearing his father do the same.

As important as it is to have these aspects that make a character more than two dimensional it is just as important to have all the “layers” fit.  If the things that make them different flow out of actual events in their life it feels better than just to make a character “quirky”.  In a later blog I will talk about adding quirks to characters, but things like motivations and idiosyncrasies work best when coming from logical outcomes from a characters environment.

My next blog I will talk about a contest several GenreUunderground authors are having.  It will culminate in a blog swap, where other authors are writing for each other.  Whoever guesses the most wins!  There will be prizes involved including an really awesome grand prize from Bookbaby! (more on that next time!)

So with that little bit of information in mind, we come to our poll”

Poll

Will you check out some of the other blogs to try to win prizes this October?

1)Yes.

2)No.

3)I’ll wait until I get more information next blog.

World Info about the Allmother’s Fire series:

Adulthood comes at a time we think of as early in our modern lives.  People (men or women) can own property around the age of 12 or 13 (depending upon whether or not they have “come out” as an adult if noble, and if other commoners are willing to sell to them if a commoner).  Commoners tend to embrace adulthood younger, starting families often at age 15 or so, in order to have more people help on the farm quicker.

Nobles on the other hand have a formalize ceremony where they are first considered adults, and can be heir to a house (normally this is around the age of 13).  After this ceremony, they then either run the affairs of the house, or some women start learning at the Questionary for a like in the church.  After a few years (normally 2-4) they decide what they want to do, and start courting suitable mates.  This often leaves them a few years behind in family development then their commoner counterpoints.


Ramp it up to ELEVEN!!!!: EXTREME WRITING


Much of my advice often follows the path of finding a middle between extremes in your styles of writing.  This allows the use of all sorts of techniques that hook some people but not others.  If a particular style you are using does not appeal to someone, if you keep a lot of your writing in between using too little or too much of something they will probably like some other aspect of your writing.  Most readers often fall inbetween this point too, that a lot of what they like to read are techniques used enough to highlight aspects of the book, but not over take it.  Sometimes however, it is both fun and rewarding to throw all the other advice out the window and just write with certain styles and techniques cranked all the way up with no middle ground.

Many popular sub genres fall into one of these extreme writing styles.  For example Pulp writing tends to have very little of the following: dense continuity, character growth, interior monologues – but tend to have lot of action, adventure, and character actions that seem familiar or repetitive (favorite lines or battle techniques, situations that follow similar patterns, familiar types of background characters occur, etc).  By hewing to these extremes of very little of some themes and quite a lot of others a very different writing style can be made.

Another popular sub-genre is POV fantasy books.  This style often goes over the same events through different eyes, with new discoveries made each time.  In this genre inner monologues occur often more than dialog or action, dramatic irony is used very frequently, but pacing is much slower than normal.  Even with only three aspects being more extreme it still sets the tone as something very different than most narratives.

One great way to see what types of writing you like to do with certain aspects over the top is to write short stories. This is better than investing the time into long novels and then realizing you don’t write in that style well.  Another way to experiment with it is to write certain chapters with certain elements ramped to eleven.  The main hero has seen all of her family die, all of her plans go to waste and the person that did it is right in front of her with only a dozen guards standing in her way.  In that case, even if the rest of the chapters have balanced action and dialogue, that specific chapter might have no dialogue at all, and just be one descriptive action scene after another as she hacks her way to the ultimate confrontation.  This technique allows you to use a lack of moderation to enhance only one part of a narrative, without making the whole work done in a specific style.

Going to extremes isn’t something I would recommend without a plan.  I wouldn’t just say to yourself  “I want to do a book with tons of dialogue and a lot of humor, and practically no inner monologues or descriptions at all, just funny witty things said the whole time  and also make it a 1000  page epic!” just to try to create a new genre.  There will be people that like that style of book, but probably much more that will find it off putting.  Also along the lines of above, it is more palatable if only a few things in the book are extreme.  See each aspect of a book (methods of writing, subjects focused on, action to interaction quotient, tone, amount of humor, levels of irony, popular tropes used, etc) as different “dials.”  If only a few dials are ramped up, then it is easier for people to take then the whole book being completely out of the norm to the point of alienation.

So in the end I guess I am recommending even for extreme writing, to have some moderation.  How surprising.

I have not received a lot of complaints about the lack of poll, so I will do without it again.

World Info for Allmother’s Fire:

Travel times between most islands is measured in days or weeks.  There are some large islands that seem to be more out in the periphery which take closer to a month, but those are only gone to very rarely, as the rewards are not normally worth the extra costs of stocking up for months’ worth of supplies for your crew.  Getting to one specific island may take you a month if it follows a different path than yours, but on its way you will probably cross at least 3 or 4 other islands that you can stop and get new supplies.

There are horror stories of those running out of supplies and not even being  able to hook any flying animals enough to get food, but clouds when passing by ships seems to automatically refill barrels if treated right by Woodsingers, so running out of water is never an issue.  The only reasons people would risk going long without supplies is if they have no place they think is a safe haven nearby (which some rather aggressive Air Pirates with notorious ships do) or if exploring for legends.  It is said some where is an island that the true daughters of the Allmother live on, and whoever goes there will receive her blessing.  No one has gone there and returned to tell the tale, even if everyone is sure they heard of a friend of a friend of a friend who thinks they saw that island once.


Expectations: Follow and Avoid Them


Fantasy and other genre fictions have certain expected tropes that normally occur.  Dreams show the future, farm boys grow up to be heroes, prophecies lead ways to light the darkest hour, the slumbering dark lord awakens, etc.  Although there is a familiar and almost nostalgic quality to when fantasy follows these well-worn paths, long time readers are sick of them.  Many readers are fine with these qualities being in the first few novels they read, but eventually it can push them out of reading the genre for they become lazy writing crutches.  Once a line has been crossed from “this is familiar” to “this is a rip off” readers often do not want to continue to read from those writers.

At the same time, if all of it is new, with nothing known or familiar it can be alienating to the reader too.  There are adventurous readers that enjoy these types of stories, but a vast middle of your audience like a balance between comforting familiar tropes and explorative original ideas.  One of the best ways to walk this line is to give them some familiar elements, then utterly destroy what they expect to happen after that.

This can be done either by throwing in familiar things then making everything else original, or you can also make those familiar aspects cloak original twists.  For example the story can start off with a farm boy who has strange dreams of confronting an evil Dark Lord in his past lives.  The novel can then make it seem that like many fantasy novels before it the farm boy is the prophesied one who will destroy the Dark Lord!  Then of course, you can eventually reveal the farm boy WAS the Dark Lord in the past life, and he is about to be reborn in his power to destroy the world. Once that revelation occurs you could take the story anywhere from companions of the farm boy now having to defeat him, to the farm boy determined to find ways to never become what he once was. This is an example of taking a familiar element and using that to cloak original twists.

A variation of that is to have the familiar trope carry through for the character, but then having the consequences for it happening not be what you expect, especially if the consequences are more realistic.  This sort of technique is used by people like George RR Martin all the time.  Sansa dreams of being a pretty princess betrothed to her king and learns the hard way that it may not be the dream she actually wanted.  Another King marries for love, and his kingdom and army are destroyed because of it.

One of the earlier mentioned techniques was to put in some familiar things in your novel, but have other parts be original.  Your hero is not a farm boy, but a trained merchant duelist, who since birth has been taught to defend the honor of her House.  She fights not to save the world from evil, but for better contracts for her Family.  Then one day in the marketplace she notices a group of people following her. And that they are in fact people she has killed in the past.  After  a long chase and fight scene she remembers seeing the symbol emblazoned into her undead opponents heads, it was the symbol of a dark god of death.  She is now determined to read the ancient prophecies to see what could be happening here, and how it ties into her family.  This takes some familiar tropes (fighting supernatural forces, prophecies, dead gods rising again, sword fighting main character) but adds original elements to keep in new (merchant duelist, prefers to fight for money not honor, has no manifest destiny as a “chosen one” etc.)

Hopefully this advice can help you to keep your novel familiar enough to interest fans of the genre but creative enough to make them want to keep reading.  Like almost all good writing, the real key seems to be striking a balance between extremes.

I notice recent polls have not been as popular, so I am skipping the polls for at least one blog.

World Info and Book Update:

The second book is moving slower.  The upcoming move and associated activities is cutting into writing time heavily, but it is still occurring.  The good news is another edit (3rd major) of Fall of House Nemeni is done which will be the Barnes and Noble version, and I will probably post it for Kindle too, but mainly for newer readers.

For World information, I wanted to talk about duels.  Typically duels only occur for nobles.  I have spoken of weapons before, and the dueling sword is worn by most nobles at all times outside of their houses.  Matters of honor are important, and a duel is the best way to often resolve them.  However, your Station in your House matters to.  The Head of a House is considered to be of such high Honor that they can ignore challenges to those that are not Heads of other Houses.  The Head of a House is just assumed to be right, and can have insults from members of Houses lower than them killed in the streets when insulted.  Of course the Head of the House who owns the person you killed might take this as an insult, which could lead to d a duel, but there should be no immediate reprisal from murdering one of lower Station.

The stories have small guilds and merchants also use dueling to resolve issues and even pirates are said to use duels to pick their Captains,.  Whether or not those stories are true might depend on the specific guild, or pirate crew involved.


Songs and Prophecies: Fantasy Flavor


Songs and Prophecies: Fantasy Flavor

Fantasy novels are a continuation of the same story telling tradition as myths and fables.  Most are inspired by the epic ballads of heroes, and due to this link often contain prophecies and songs from that world.  This is due to the original tradition of mythological stories being recited orally, and often sung (hence the term ballad) depending upon the culture.  This carried through in many of the first fantasy epics, like the works of Tolkien (especially the songs) all the way through current blockbuster epics (Wheel of Time for prophecies and songs).  They add significant flavor to a book, and make it fit the genre better, but if done wrong can pull a reader out of the book.

Songs are probably the harder of the two for most authors.  While there may be a few budding songsmiths amongst fantasy writers, many are not particularly musically inclined.  This has the habit of making many songs either just general poems or not feeling songlike in the least.  The easiest way to make it feel more authentic if you do not have song writing abilities yourself is to pattern your song after either the cadence of epic ballads ( like Beowulf, odyssey, etc) or if doing something closer to our time then sung to the tune of other songs you know.

Many traditional songs we know like Yankee Doodle had the lyrics patterned to fit existing songs (in this case a drinking song) and this happened with many hymns and other songs that people know of.  Sometimes your reader might even think it seems familiar, if they know the source material enough.  In the second book of the Allmother’s Fire I needed a rousing but slightly wistful song for the Air Pirates.  I decided to pattern the tune after “My Bonnie Lies over the Ocean.”  At that point the song practically wrote itself (lyrically it’s not similar, but the idea for the song I had grafted onto the backbone of the existing tune so well, the whole thing was written in about four or five minutes).

For both songs and prophecy you could get the feel you wanted by using certain types of poetic forms, like iambic pentameter to give it a familiar stylized feel.  Other rhythm and meter schemes work.  If wanting to evoke the feel of homer for your Prophecy, try dactylic hexameter.  Modern English is used to rhyme schemes being emphasized, but it is not the only way to give the effect of a song or prophecy.

With prophecy the content is just as important as the presentation.  If the meaning is too clear and accurate there is no sense of discovery or surprise in the book, since everything could be predicted easily.  The key to good prophecy besides making it “catch” in the head of the reader through meter and rhyme scheme is content fuzzy enough to not make twists obvious, but detailed enough in hindsight it makes sense.

For prophecy use vivid descriptive phrases, but let them have multiple meanings.  This way a reader (and the characters) can draw wrong or obvious conclusions early on, but the truth of their meaning can be obfuscated for later surprise.  You could also make intention obvious and have the whole prophecy be an outright lie, but is more a plot choice then stylistic.  You would still want to use things like rhythm (which syllables are stressed) and meter (how many “feet” {syllable combinations established with rhythm} each line has) to make the prose stand out as something unique.

Poll:

Do you like when fantasy novels have their own songs, or do you skip past them to get to the rest?

1)I like it, it adds flavor.

2)I don’t it bogs it down.

World Info:

Here is an Air Pirate Song!  We would recognize this tune as my Bonnie Lies Over the Ocean:

“My love once met me on an isle

It was a place no one else could see

I stayed with her but a while

But it was long enough for me

 

For I won’t

I won’t

I won’t be tied down

Not Me

Not Me

For I won’t

I won’t be tied down

Not Me

 

My place instead is in the skies now

Sailing and forever free

Never tied to one love by a vow

For I won’t ever bend the knee

 

For I won’t

I won’t

I won’t be tied down

Not Me

Not Me

For I won’t

I won’t be tied down

Not Me”


Fantasy Magic: Internally Consistent or Author Fiat?


When it comes to fantasy, the magic system is often very central.  If not to the plot itself the options available to characters often rely on rules and restrictions of their magic systems.  There are two main types of ways (and many points between those two) authors handle those limitations to their characters.  One is by having a rigorous magic system with it’s own internally consistent rules.  It in essence becomes another type of technology that gives predictable outcomes if one takes specific steps to achieve them.  The other is magic more as mystery or a story device.  If you treat it this way it seems like a capricious force that achieves things without the reader or character being able to know why, or the character being able to replicate the same effect again.

A lot of older fantasy fiction and myths occur like the later description.  Magic in stories was a way to have the mysterious or even frightening happen. Those that could use it would be rare, and follow more the paths of a mythological hero than anything else. Early fantasy fiction followed this.  For example Gandalf as a wizard does very little that the modern day would consider “magical” in the Lord of the Rings.  He fights with his sword more than anything else, and most of his wizard abilities were small, illusory, or using obscure lore.  He could however suddenly do things completely unexpected and not foreshadowed, like essentially coming back from the dead.  Even greek and norse gods seemed to only have the abilities that fit the needs of the specific tales they were in.  The one exception to this was at times magic items would do the same things every time, whether it be a ring of invisibility or a spear that causes thrones to sprout out of it’s target.

Modern fantasy seems to be more informed by the fact that many of its readers have been role playing gamers, or played video games or other media which are influenced by specific rules. There is still some leeway for surprise effects, like letting a character have fire magic without codifying each and every use of this before it happens.  Then the mage who normally throws fireballs at its enemy can summon a firestorm and go unconscious from the fire during he final battle (or even burn themselves up) without it seeming “deus ex machine” or to occur by fiat.  Some authors (such as Brandon Sanderson) might add appendixes so you know exactly the limitations and abilities of each “branch” of fantastical powers available.

Whichever you choose, it’s best to stick to one of them, or whatever place you decided in between, the whole series.  If people can use their abilitiesonly  in certain logical ways most of the times, but at key story climax times unexpected capricious things happen it can leave a reader feeling frustrated.

The mysterious version is best if you want the characters themselves and most of the denizens of their world afraid or awed by magic.  If almost no one knows how it works then it gives a feeling of amazement when it does show, or if it works differently every time even those using it cannot rely on it for they do not know what effects will happen when they use it.  Many dark fantasies like Game of Thrones and Chronicles of Covenant make magic either rare or capricious, so that no one relies on it for they never know what outcomes will happen.  If a main character uses it even they should be afraid to use those abilities for dark consequences may happen.

Those that want to build a world different but similar enough to our own will often choose to have their magic systems following laws our minds can understand.  As stated before this is common to those who come to fantasy from genres outside of older literature (comics, video and role playing games, similarities to some sciences, etc) often expect it. In these worlds magic is less a taboo dark force than it is a consistent tool that just could not exist in our own universe.  This is a great system to use when also crating world with culture or flavors like our own (something that feels Victorian, renaissance Italian, ancient Celtic), etc sicne our minds accept it in the same way we would accept a weapon or other tool a culture uses that we do not.

Poll:

What is your preference for magic systems in your fantasy literature?

1)Open and unreliable

2)Defined and methodical

3)Whatever works for the book it is in since as long as it is consistent.

4)Don’t care at all.

Book Update:

I am probably about 60% through the first draft of Rise From the Sun Below, the second Allmother’s Fire book.  In the conceptual stage I am deciding what series to do next, between two different series, and a standalone book idea.

World Info:

Bodies of water are an interesting thing in this universe.  There are no oceans, so most water is confined to well spots or occasionally canals and streams.  Streams do go off the island, but instead of falling down into the Sun Below they careen back to the under portions of the island and then go back into the steams and different points.  If one wanted to they could try to pilot a small boat of the side of an island, but no knows if they would make it back up the island again, or careen down into the sun below.

A few islands actually have large lakes, and this is the closest anyone in the universe has to Oceans.  There are tales of islands that have lakes large enough to be similar to our Oceans, yet no one has ever been able to map how to go there, so it may just be a tale. It is certainly spoken of in the past of lakes large enough to be Oceans, and if this is not true then it is curious why airships looks almost exactly like ships that in our world would cross the Oceans.  Some whisper that this is just one more mystery suppressed by the Allmother’s church.


Word Usage in Non Existent languages


In fantasy (and in many scifi novels) your protagonists probably are not speaking English.  They are likely not speaking and actual existing language, unless you want them to.  You could just decide by fiat that they are speaking English, but some people might have a problem suspending belief (especially if they know enough to know different Old English is from current English, and that language constantly evolves).  If you do decide that they speak their own language however other issues occur such as; can you use any puns then, what about rhymes, or wordplay like homonyms or clever phrasings, and what about modern idioms?  Below is some advice to help with these issues.

The most important advice is to stay consistent.   If you sprinkle your own (or another language’s) words for something, or an ancient word for something use it every time.  Do not use the phrase katana and broadsword as if interchangeable.  Don’t call an animal a k’ysen most of the book, and then suddenly call it a dinosaur later even if the description you gave made it obvious.  If you do pepper modern idioms into your world, decide which ones fit and why and stick with it.  Nothing is worse than having what parts of our languages are used in your world seem arbitrarily.  If the whole world seems like an allegory for the ancient Vikings, and then you use all modern English rhymes in their poetry it may pull a reader out of your world.

Modern phrasings in particular can be tricky, including what is “modern.”  Even phrases that often are in our language and seen as conventional are actually references to real life cultural events and would not probably exists in your fantasy world.   This means extra care must be taken of what types of phrases you use to keep your world feeling consistent.  Decide why those phrases are allowed. It might be because of cultural similarities, it might be events in that world, or you might let all modern idioms apply and assume that those modern idioms are translations of whatever they are really saying. If attempting to weed out modern phrasings then you will need to think hard about anything allowed.  Even my last phrases “weed out” assumes the speaker’s culture has familiarity with the process of keeping a garden.  If trying to be rigorous on phrasings, I recommend having multiple beta readers that keep an eye out just for that.

If you want your own jargon (this happens particularly with magic or technology in fantasy and sci fi) it helps to keep it to a level that does not overwhelm your reader with new words they must learn.  Also, if there is something analogous in our world you can use that as an alternate way to describe it as long as it is not too rooted in one particular cultural identity.  If a person has a specialized curved sword called a dyten, calling it a sword later is fine.  Referring to the dyten as a scimitar later is not advised however, as it weakens the idea that your world’s sword is this unique thing you called a dyten.  If you can keep all your phrasing to a small amount (maybe a dozen or two words) the reader won’t feel like they need to check a glossary each time a conversation occurs.

Puns, homonyms, rhymes and the like very much rely on deciding if: the language is for all intents and purposes modern English, the language is not at all like English and you do not want anything to break that illusion, it is not English but you assume that there is some sort of wordplay in that language that the people in that world are seeing that we are not and let our version of the wordplay stay as a way your reader can connect.

Most fantasy seems to go with the third one.  The language is not English but it is treated like that in the rhymes, songs, and puns its characters use.  This is the easiest way to write, but can sometimes pull your reader out of the book much like using modern idioms.  This seems to very by reader.  Some readers actually prefer this technique for familiar wordplay draws them in more.  If firmly rooting your novel in history, or emphasizing the “otherness” of your culture you might want to write it differently.  Instead use analogues, related concepts, and wise observations for poetry instead of rhymes.  Make humor contextual instead of pun related.  When writing think  “Will this joke be the same for my Spanish, Japanese, German and Italian readers?  That sort of mindset can give you good guidelines of who to keep language integrity throughout your work

Poll:

Do you prefer your languages in fantasy and sci fi to be:

A)Modern English.  Who cares if that’s not feasible, it gets rid of all other barriers.

B)Its own unique language, and nothing modern or reliant upon being English should show.  The translated version of this novel will easily be able to use actual translations with little to no localization needed.

C)Functionally similar to modern English, but only as a device to allow the reader to be more immersed in the world.  It will have differences, but rhymes and puns are allowed and it is just assumed the world has an equivalent for them.

World Info:

Mandatory Paradise will be the focus again, since it is the newer book and I have more questions about that from people who have wondered how one structure can cover the entire island.  The truth is the Palaces are essentially connected and wind their way around the island and jut into the center of it at parts.  There are, however,  places not actually part of the Palace as a whole.  These are not residential places, and do not have the running water the rest of the island does or entrances to the catacombs.  This is where the markets are, smiths craft their wares, and the vineyards for the grapes are located.

Also thePpalaces are broken down by areas and quarters have different feels to them.  I will describe the differences between the quarters in a later article.  In general they are broken down by class and occupation, but occasionally by philosophy.  It is still all one Palace, but the culture is not nearly as homogenous as the Senate would probably prefer it to be.


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