Taking a break!

 

Contrary to popular belief (mine) I am not great at multi-tasking. In fact, I pretty much suck at it … really well.

The life of a writer – especially today in the era of indie/self-publishing – is all about multi-tasking. There are platforms to build, twitterverses to explore, covers to design, books to format, and blog tours to organise and that’s assuming you’re still able to churn out those books that writers love to write and readers love to read.

But that’s my problem … I’m not … writing that is. My writing has come to a shuddering halt which is kind of pointless when you think about it. All the other activity relies on having great books to talk about. Now I know every writer has to contend with this and it’s something that I will have to learn to manage, but at a time when my right brain needs to be nurtured, my left brain needs to grow quiet … at least for a little bit.

So in the interests of my sanity (and productivity), I need to retreat to my (virtual) writer’s loft, channel the inner starving artist, and just write. FYI … there is likely to be very little actual starving going on. I can pretty much assure you there will be a constant flow of Tim Tams to said loft.

Due to the aforementioned lack of multitasking aptitude, I’m taking a short break from the blogosphere while I ramp up my writing and wrestle this multi-book plot into some kind of order.

I will still be actively tweeting – when I remember to – and looking forward to our conversations when I get back in the very near future.

Stay tuned, it will be worth it … I promise!

 

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An Anthropologist’s Guide to World-Building – Part 6

Ritual

Part Six – Ritual and Custom

Anthropologists, by nature and discipline, look to explore the commonalities that lie at the base of all societies and culture. Keeping this in mind, this series will provide a look at the world around us in the same way that anthropologists do – from the ground up. What this means is that when faced with having to build a culture within our fictional world we understand the basic foundation upon which that culture can be built.

We covered some of this in week three with religion but not all rituals are necessarily to do with religion. We see rituals associated with inaugurations, coronations and parades. We also see rituals associated with important days such as Christmas or birthdays. Who ever heard of a birthday party without the cake, candles and singing Happy Birthday? The thing to remember with rituals is that they are a prescribed way of acting, follow a specific order and are repeated in the society of which they are a part.

Rituals are social acts and, along with customs within a society, convey a symbolic meaning about the performer of the ritual and the society within which it is practised.  Customs can be less formal but are no less important to a society. Gestures of greeting, such as hand-shaking or cheek-kissing, are typical examples of a society’s customs. Customs around food preparation, eating with utensils or hands, and belching after a meal, all suggest something about the groups that participate in these customs.

Shaking Hands

Customs are closely related to manners and what is seen as polite in one society might not be in another. In fact, some actions might be downright taboo. By that I mean ‘off-limits’ to that society or a group within the society. Incest is a universal taboo. But some taboos are specific to the society and will usually stem from what is seen to be sacred. If we think about this when we are creating our world, it adds another dimension to the story and provides great opportunities for conflict.

One final aspect of ritual I’d like to touch on is rites of passage. Rites of passage are held around things like moving from childhood to adulthood, moving from single to married, and the grand finale, moving from alive to deceased – the burial ritual. All of these are associated with movement from one state to another. The reason this is particularly relevant to world-building is that while a person is in an ‘in-between’ state they belong to neither one nor the other. An anthropologist called Van Gennep called this state liminality and before I send you all to sleep, it’s important – I promise.

In fantasy especially, but really for all kinds of fiction, the hero’s journey is a valid structure to storytelling. Once the hero has embarked on the journey he leaves his original state and has in fact entered the liminal phase. At the end of the story he returns a changed person and enters a new state. It is in the liminal phase, or Act Two, where all the mayhem can happen. The rules of the earlier stage no longer apply and the new stage has not yet been realised, so have some fun with it.

That brings us to the end of this series on world-building. I hope you found something useful in it. My goal was to trigger your imaginations and to find the links between different aspects of society and how we can use them in our fictional worlds. For those who are still awake – well done and I hope you enjoyed the journey. For those who are asleep – could someone please nudge them and get them to turn the lights off.

 

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An Anthropologist’s Guide to World-Building – Part 5

MedicinePart Five – Medicine and Magic

Anthropologists, by nature and discipline, look to explore the commonalities that lie at the base of all societies and culture. Keeping this in mind, this series will provide a look at the world around us in the same way that anthropologists do – from the ground up. What this means is that when faced with having to build a culture within our fictional world we understand the basic foundation upon which that culture can be built.

So on to the topic of medicine or the healing arts. I include magic here because in most fantasy, one of the uses of magic is to heal. This won’t be its only use but one of them.

In contemplating your world it helps to ask the following questions:

How will people in your world heal?

Who will heal them?

Is it an area of specialisation?

Do people charge for the service?

Does is require special skills?

Many first level healers will be the type of herbal specialists we are used to from depictions of the Middle Ages. This system can be as sophisticated as you like. It might be as simple as plucking a few leaves from the thistle patch or as complex as creating unctions, bound together by the blood of an orange-spotted flatherblotter, with an incantation of secret mutterings passed down from the first born female of each generation. Or whatever you so desire.

 

Magic Book

Which brings us to magic. There is an inherent magical quality about the art of healing. Even in today’s society there are people who hold doctors in awe because of the things they can sometimes do. But that ability comes from knowledge and that knowledge comes from training and so it will be with the magician types in your world. While natural ability may be the basis of your magic system, the control and mastering of that natural ability will take guidance at the very least and perhaps a highly structured education system at the most.

Once you’ve decided on the system of healing and magic of your world there are more questions to ask. Among them are:

What are the limits of healing in your world?

Can anything be healed and if so – how does anyone die?

If magic is the means of healing is there a cost to the one doing the healing?

Magicians using part of their life source will obviously pay a greater cost than a herbalist who might just sacrifice the time he or she spends gathering the herbs from the woods. Each of the answers you choose to these questions will impact on your world, your characters, your plot and the internal logic of your story.

How do your characters heal and what part does magic play?

 

Next Week – Ritual and Custom

 

 

 

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An Anthropologist’s Guide to World-Building – Part 4

Part Four – Monumental Works

Anthropologists, by nature and discipline, look to explore the commonalities that lie at the base of all societies and culture. Keeping this in mind, this series will provide a look at the world around us in the same way that anthropologists do – from the ground up. What this means is that when faced with having to build a culture within our fictional world we understand the basic foundation upon which that culture can be built.

This week’s topic flows on from the last two. Monumental works are the big suckers that appear in a society when they have spare cash, spare time and a leader who can impose his will on the masses, either by coercion or cooperation. You know the kind I mean – large statues of rulers, large temples to worship the gods, large palaces to house the elite. In fact monumental works are a direct result of a ruling elite – usually political or religious or both.

When we talk about monumental works, we don’t have to look any further than Ancient Egypt in the Dynasty days (no not the television series with Joan Collins in power suits). Those Pharaohs understood the power of a good monument. The pyramids, the statues of the gods, the temples! Ah the egos!

Monuments belong to complex societies; they are built with funds from the state and usually by the labour of the lower classes. Some are built under duress but some are built by those that believe in the underlying cultural story that supports the veneration of their leaders. Which brings us to one of the main reasons for monumental works. They support the rhetoric of the state.

The purpose of monuments can be many. Some are to remind the masses who is in power. Some are to remind their enemies who is in power. Sometimes monuments are there even to remind the gods who is in power or at least to do a major suck up to those same gods to ensure rewards come their way. Unfortunately, for those rulers trying to gain brownie points in the annals of history, they didn’t count on the next leader to come along destroying their works. Yep, never turn your back on a pumped up Pharaoh hell-bent on immortality because he’s just as likely to replace the face on your statue with his own.

So keep the concepts of monuments in mind when you’re building your world. Every leader needs a statue. Every dead leader needs a big tomb. And every god needs at the very least a temple and perhaps a cathedral or two.

What kinds of monuments can you think of for your world? Do you think monuments are a given in a complex society?

 

Next Week – Medicine and Magic

 

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An Anthropologist’s Guide to World-Building – Part 3

Part Three – Religion

Anthropologists, by nature and discipline, look to explore the commonalities that lie at the base of all societies and culture. Keeping this in mind, this series will provide a look at the world around us in the same way that anthropologists do – from the ground up. What this means is that when faced with having to build a culture within our fictional world we understand the basic foundation upon which that culture can be built. 

We spoke last week about different kinds of ruling elite. One of those was a religious ruling elite. But not all stories will have religion on top. It can be of course, but it can also be persecuted, forbidden, feared, mocked, or despised. How we choose to set our religion will have repercussions for many things in our story. And trust me you can’t leave it out if you think it’s too hard. How will your people process life and death, meaning and values? Even if they don’t call it religion it will still look and sound like one. Remember, all cultures have religion of some kind as part of their cultural structure – so no skipping this step.

So when building our religion, or religions, there are a few questions to ask ourselves.

Who does this religion worship? Is there one god worshipped in your society, or is it many gods, a goddess or a six-legged goat. It really doesn’t matter what you decide as long as everything that flows from that choice makes sense.  Remember, many swear words in societies are directly related to excrement and deities. So if a six-legged goat worshipping society is the one for you, then your expletives will be goat related, or leg related or goat dropping related … you get the picture.

How do they worship their deity? Ceremonies and rituals are a natural part of religion and will flow on from the kind of deity you choose. Goddess religions tend to worship around the cycles of womanhood. Often these are linked to the natural world and so we see the cycles of the moon holding religious significance. I’m not particularly knowledgeable about six-legged goats but perhaps there is a particular time or season when legs numbered five and six sprout on a sacred goat. I don’t know about you but to me the Great Festival of the Sixth Leg sounds like a blast as far as religious ceremonies goes. Perhaps children born on this day are given six names to commemorate how sacred and goatly they are.

Are they born or are they trained? Are your religious priests, or gifted folk, born that way or are they taught in the ways of religion. If they’re born that way, how are they recognised as such? If they are trained, who trains them? Where are they trained? Are they locked up in some religious institution to study for many years or are they left to work it out themselves?

Who wears the big boy/girl pants in your religion? Who’s the leader and how did he/she get there? Is there a pecking order of the holy kind? Are there cut-throat shenanigans going on, or are your lot a pious bunch who only want what’s best for all? Or do they await all decisions on the temperament of the six-legged one as the all-knowing oracle it may be?

Is anything forbidden in your religion? Taboo plays a large part in keeping cultures in line. Religions are no different. Whatever is taboo will have to stem from what is considered sacred.

These are just a few things to consider when planning the religious part of your story and the list can become as deep or as shallow as your needs or interests allow. But like each step of world-building, it has to make sense in the context of your world. All things interlink and failing to think things through can leave a gaping hole that may yank the reader out of the story. And that’s something none of us wants.

What other things can you think of that need to be addressed when contemplating a religion?

 

Next Week – Monumental Works

 

 

 

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An Anthropologist’s Guide to World-Building – Part 2

Saddam Hussein Money

Part Two – Social Stratification and the Ruling Elite

Anthropologists, by nature and discipline, look to explore the commonalities that lie at the base of all societies and culture. Keeping this in mind, this series will provide a look at the world around us in the same way that anthropologists do – from the ground up. What this means is that when faced with having to build a culture within our fictional world we understand the basic foundation upon which that culture can be built.

So last week we looked at societies in general and how looking at one aspect – subsistence – can flow on to pretty much everything else.

This week we’ll take one specific aspect from last week and explore it in a little more detail. That subject is social stratification and the ruling elite.

Social stratification means that within a society different groups with different levels of power begin to emerge. There is usually a hierarchy that sorts itself out, with the elite sitting on the top of the heap and reaping all the benefits, and the poor buggers down the bottom doing all the hard work and getting little in return, except for maybe a bad back, consumption and a short life.

Social stratification is a great way to bring conflict into your story. There will always be tensions between those who hold power and those who don’t; especially when those who do screw over those who don’t. Social stratification is great for a good old-fashioned peasant uprising, or Machiavellian type politics – the means always justify the end – or corruption. When things are not equal, there is conflict.

I find the best kind of ruling elite is the religious kind. By the best, I mean the most mineable in terms of good versus evil, power, retribution – all that fun stuff. Religious leaders, who are also in it for the power, can claim a divine right to rule. As they are seen as the voice of God, or the gods or the goddess, they have a legitimate claim to do whatever they like. Who’s going to argue? Well, perhaps a reluctant hero, destined for greatness.

So think about the stratification you’re giving your societies. Make sure there is plenty of scope for conflict. Play around with who sits at the top. Have your female characters hold all the power instead of your male characters. How about a sacred order of left-handers? What about a powerful nation run by redheads? … No wait; that’s my fantasy.

What ideas can you come up with to make a truly original ruling elite?

 

Next Week – Religion

 

 

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When in doubt go rogue …

Let me explain.

As some of you might have noticed I’ve changed the tag line of this blog to: When in doubt go rogue … and I think it requires some explanation.

I’m not a fan of anarchy and I’m not suggesting that everyone throw out the ‘rules’ that keep us all mildly sane and our world a moderately safe place to live. That’s not where I’m coming from at all.

A while ago I was talking to a writer friend who was struggling with something he was writing. He had a really clear vision in his mind about where he wanted to go with it but was having trouble articulating it. The person he spoke to didn’t ‘get’ his explanation and tried to veer him on to a path that made more sense to him.

My friend’s dilemma? Does he go with his gut and break away from doing what was expected (and potentially fail) or does he do the ‘safe’ thing and make that other person happy?

My advice? When in doubt go rogue …

And so it has become a kind of mantra for me in tough situations, not to mention an ‘in’ joke between my friend and me.

It’s often really hard to trust your own instincts. Pressure from all directions can see us cave and sell a little piece of ourselves for the approval of others. So I changed my tag line to remind myself to go rogue whenever my idea clashed with the sensible way of doing things. Whenever I find myself seeking the approval of others, rather than being true to myself, it’s the green light for me to go rogue.

I fully realise that going rogue doesn’t guarantee success. It will mean that I will have to own my mistakes, but I’m okay with that. I’d rather live as me and make my own errors than live safe being someone else.

So in my universe, going rogue means …

Trust your gut

Have a go

Let go of someone else’s idea of perfection

Back yourself when no one else will

Laugh at yourself when you look like a twit

Forgive yourself if you make a mistake

Own your choices

Have fun

And don’t die wondering  …

 

In what ways do you go rogue? Or when would you love to if you could just throw off the expectations of everyone around you?

 

 

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An Anthropologist’s Guide to World-Building – Part 1

Okay so even I fell asleep reading the first post on my world-building series, dribbling onto my keyboard with the letter P branded onto my right cheek.

My apologies to those who read the earlier version, although I may have inadvertently, single-handedly cured the insomnia issue for humankind. So I decided a total rewrite was in order … and here it is … version two …

 

Part One – Types of Societies and Subsistence

Anthropologists, by nature and discipline, look to explore the commonalities that lie at the base of all societies and culture. Keeping this in mind, this series will provide a look at the world around us in the same way that anthropologists do – from the ground up. What this means is that when faced with having to build a culture within our fictional world we understand the basic foundation upon which that culture can be built.

We can approach world-building from different angles. Some writer’s start with a map, others start with a language or a city. Anthropologists start with subsistence. Basically this means how people feed themselves and their own. From there we can develop or build a society that makes some kind of sense.

It may seem like a strange place to start but what you realise when you look at things from this angle is that all else can evolve from this one point.

Look at hunter-gatherers. They had a fairly simple kind of existence (as opposed to complex) because they just went where the food was. This meant that they were nomadic in nature or at least followed the seasons. This also meant that permanent housing wasn’t required, trades other than hunting and gathering weren’t necessary because they pretty much had what they needed. They were usually made up of kinship groups, that is, families. Leadership was a job for the elders and any outside opposition was taken care of by the vital and the strong. The elderly and children were provided for by the group so it was an egalitarian society. It has been called the original affluent society.

Agricultural societies or sedentary societies took the food production thing to the next level and domesticated plants and animals. This, in turn, tied them to one place so they were forced to make more permanent places to live. Focusing on food production led to food surpluses, so that meant the surplus had to be stored, recorded and distributed. This led to bricks being fired to build storage facilities, the creation of measurement and writing systems for recording purposes and some kind of group leader to oversee the distribution of all the excess food. From here all kinds of subsidiary trades evolved which meant that not everyone was involved in the process of feeding the group. This led to trade or barter systems cropping up so that the tradesmen could still feed themselves in some way. A natural offshoot of this became currency.

Are you starting to see how this kind of world-building has a type of domino effect?

So the final type of society to examine is the state, often city states. These guys do everything on a much bigger scale. Here you get a dedicated political system to distribute the resources of the state. The haves and the have-nots begin to separate and you get an elite class that tends to call all the shots and get all the benefits. The elite don’t just have to be of the economic kind, they can be religious or political. In many ancient states, all three were tied together. While this may all sound grand, there are some obvious downers in a complex society such as this. Poverty, crime, long working hours = ill health.  You also get wars with this bunch as they have “more” to protect. All those accumulated crops and taxes can be extremely tempting to the next state over. So these guys need a military system to protect their gains.

Sadly, these guys can often be a little arrogant too. Many civilisations that have disappeared in the past have done so for a whole host of reasons, but a common thread has been the environmental degradation brought about by their agricultural practises. Changes made to the environment to yield more and more crops usually come unstuck in the end resulting in major bad juju to the state that made those changes. Think the Mayans, think the Aztecs, think today’s society … well, wait long enough and you’ll get what I mean.

Anyway, so that’s how to look at the concept of world-building by taking an Anthropologist’s view of things – using subsistence. As writer’s we can begin to play with types of subsistence. Is it only food that is stockpiled or could magic or humans themselves be seen as resources for storing, distributing or trading? How about exchange? Will your world have a form of currency such as money or can you think of other kinds of currency with which to trade goods? What about trade specialties that might evolve from the surplus of your resources? What kinds of quirky and cool things might spin off from a world where magic could be stockpiled?

In your own world-building it may help to take just one aspect of a society and grow outward from there. As we’ve seen here, it takes on a kind of domino effect and what we end up with is a society that has an internal consistency because one thing automatically leads to the next thing.

Happy world-building!

Did that give you any new ideas about approaching world-building? What ideas come to mind when you think about alternative ideas of subsistence?

 

Next week – Social Stratification and the Ruling Elite

 

 

 

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An Anthropologist’s Guide to World-Building – Introduction

I’m currently in the rewriting phase of the first novel in a fantasy series for teenage readers, and I have a confession to make … I skimped on my world-building phase *blush*. Now this may not sound like a crime worthy of harsh punishment for many but for me it’s different. You see I’m an anthropologist!

For those who don’t know, anthropologists are studiers of culture. That’s right; we’re made up of sub-sets that study humans from every angle (so to speak) – physical anthropologists (think Bones), cultural anthropologists (think pith helmets), archaeologists (think Indiana Jones) and linguists (think Tolkien). Now my anthropology professors would be pirouetting in their graves at my references (if they were dead, which I am happy to report they are not, as no doubt they are as well) but you get my point. My area of expertise is in understanding how cultures are put together, how political systems evolve, what function religion has in a society and how language develops.

So back to my WIP. I was so excited to get going that I skipped the back story to get to the real story …  and it showed. The majority of the problems, that I am trying to fix in this rewrite, stem directly from my lack of world-building prior to writing. And I should know better … in fact I do know better. So now, I’m going back to the beginning to rebuild my world. I want it to be rich, deep, quirky and addictive.

As I go through this phase I thought it might be fun to introduce the concept of world-building through the eyes of an anthropologist. While we’re talking fantasy when it comes to world-building, we can take great tips from the world around us. From next week I’m going to begin a six week series on just that … and I promise not to bore you to death. I’ll take you through real-world examples that you can use as a stepping off point to create your own fantasy world. We’ll explore the origins of different types of societies, how and why they develop and what ripples each sends out into the world around them.

This is what we’ll be covering:

  1. Types of societies
  2. Ruling elite and social stratification
  3. Religion
  4. Monumental Works
  5. Medicine and Magic
  6. Ritual and Custom

I hope you can join me. Are there areas of your world-building adventure you struggle with? Let me know and I’ll be happy to consider it from an anthropologist’s point of view.

 

 

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Threshold Guardians to Publication

Locked DoorChris Vogler, in his wonderful book The Writer’s Journey, draws our attention to not only the hero’s journey that lies at the base of most storytelling but also how a writer’s life can be seen to adhere to that journey as well. Vogler’s work is, of course, based on the insights of the great Joseph Campbell who brought to light the commonalities of myth across all cultures.

I happen to be a big believer in the hero’s journey as a framework that answers many of life’s questions concerned with meaning – you know the ones: Why am I here? Why did that happen to me? Why … Why … Why …? In fact, I think that the hero’s journey illustrates perfectly the human condition and that most don’t know it and few hear or heed the call. For those who have the time or the inclination it is worth exploring Joseph Campbell’s work if you haven’t come across it before.

But back to Vogler. I was re-reading a section of his book and had a light-bulb moment when I read this passage:

“The guardians seem to pop up at the various thresholds of the journey, the narrow and dangerous passages from one stage of life to the next” (p. xxx).

I’m currently working on a major rewrite of my novel based on a critique that was done on it. There were a lot of suggestions made to improve the work and while that was the purpose of having the critique done, I was daunted by the amount of work that lay ahead. It wasn’t the actual doing of the work that daunted me but rather whether I was capable of doing everything that needed to be done. Did I have enough talent to be able to meet the standards of the rewrite?

This is when Vogler’s words struck me as absolute truth. For me to move to the next level of writing that I wanted to achieve, that is publication, I would have to pass this threshold. The person who did the critique represents the threshold guardian who demands something of me before I am permitted to pass through the threshold to the next stage of the journey.

Vogler points out that there are various ways to deal with a threshold guardian. One is to fight it, one is to trick it and another is to join forces and absorb its energy rather than be destroyed by it.

Many writers see critiques or rejections from agents and publishers as a major setback. It is often disheartening to be told, after working on something so long and so hard, that it is simply not good enough. Instead, we can choose to see these points along our path as simply threshold guardians, there to make us earn our passage to the next stage of the journey. By absorbing their energy and seeing them as allies on our quest, we can use what they have given us.

Seen in that light it becomes an opportunity to be better, and rise to the next level; to become the hero on our own journey.

What threshold guardians have you met in your journey so far? Does it help to deal with rejection if we know it will only make us better and able to rise to the next stage of the journey?

 

 

 

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