Tips on World Building

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A diorama my son made in sixth grade.

I took a class taught by Aprilynne Pike on world building back in February at the ANWA conference. I was asked to give a lesson on world building for my writing group, and I thought I’d adapt  a few things I’ve come up with into a blog post.

 

First of all: a synonym to “world building” is “setting.” All books have a setting. It is, in fact, one of the most basic elements in a story.

I remember reading a piece by someone in my writing group, long ago, soon after I joined. It was just a short chapter, but it was brilliant. The only thing I recall at this point is a quirky little town parade and something about a stuffed goat on wheels. (That’s right. On wheels.) As we discussed her piece in the chapter meeting, the writer said something that has stuck with me, lo, these many years. She said, in effect, “What I am trying to do in this story is make the setting another character.”

I was fairly new to writing at this point, and that statement struck me as genius. I hadn’t ever heard that before—I hadn’t even considered it before. The setting as a character?! A whole galaxy of possibilities opened up.

So I feel like setting is the first level, but when you take it to the next level,  it puts you into world-building territory. (Although I did have a friend point out—you can change setting and still be in the same world. True.) And when you’ve built an amazing world to go along with your amazing story, that’s when your book will truly resonate and be memorable.

In Aprilynne Pike’s class, she talked about her Wings series and how she has pages and pages of information just about the land of faerie—most of it not in the book. She had a whole history of the land, along with a monetary/bartering system, maps, and rules that govern the way the magic works. Even though all that information wasn’t part of the story, she attested it gave her work a depth, a realness, that wouldn’t have been there otherwise.

She gave a couple of examples of other works during her class, where she read only small excerpts. Even though they were short, they still showed the type of world and set up how the setting became a character. Her first example was from Carrie Ryan’s The Forest of Hands and Teeth. Within the first few pages the world she has built is definitely a character in the story—a main character, from the looks of it.

Another example she used was from The Giver by Lois Lowry. When I think of dystopian lit, it seems there are two types of worlds: ones where everything is in the hands of a controlling government and things are very, very bad (like The Hunger Games or 1984) and ones where everything is in the hands of a controlling government and things seem all right at first (Matched or The Alliance). I think The Giver falls into the latter category.

Compared to a lot of other dystopian lit out there, The Giver starts out tamely. The world is a happy place and people are privileged to live there. And yet, there’s still this underlying wrongness about it. I started reading The Giver to my girls at the beginning of the summer, and when we got to the part where people were only allowed to raise two children (not their own), and the birth mothers were on the very bottom rung of society (after their “birthing years” were through, they were put in menial, hard labor jobs for the rest of their lives), my 9-year-old was completely horrified. So even though the language was “happy” and the people were “content” and the mother explains this to her daughter in a very matter-of-fact “this is the way it’s always been” way, Lois Lowry was able to strike these chords without really saying anything at all. There’s nothing overt in the book that says, “This is a crazy way to live.” She’s made the setting—the world—say that by simply being.

World-building does not come naturally to me. For this reason, I know I’m going to have to save an entire edit when my book is finished to simply go through and add in those details that add authenticity, the ring of truth, and that extra dimension of entering a whole new world. (Don’t you dare close your eyes!)

Key Points:

  • Make your setting another character in your story.
  • Use surprising details to pull the reader in—sight, smell, taste, touch, sound—and ensure the setting has a history as well as a future.
  • Let it affect the mood and tone of the story you’re telling.
  • Most of all: don’t forget to use it. Building a fascinating world where people want to go and see what goes on there is worth the extra time it will take you, as the writer, to weave into your book. Liz Adair has said, “I write cheap vacations.” So take your readers somewhere!

 

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The Hunger Games by Suzanne Collins

I heard about this book awhile ago, and I’ve been on the library’s hold list for months waiting for it. When I finally got it, though, I didn’t read it right away. I was pretty sure that once I started reading it, the book would basically possess me until I finished it.

I was right.

I picked the book up a few nights ago and read the entire thing from cover to cover, even though it wasn’t the most judicious thing to do.

Katniss Everdeen, a sixteen-year-old living in the 12th District of Panem, hunts daily beyond “the fence” to feed her mother and sister. The book opens on the day of the reaping, a yearly occurence where a boy and a girl from each district is chosen by lottery to travel to the Capitol to compete in the Hunger Games. When Katniss’s younger sister, Primrose, is chosen, Katniss volunteers to take her place.

The Hunger Games themselves are the epitome of barbarism: two teenagers from each of the twelve districts are put in some sort of environment to fight.

To the death.

While the entire country is forced to watch on a twisted reality show.

Suzanne Collins’s writing is masterful; I identified and sympathized so completely with the characters I had already cried before page 25. Katniss and her internal struggles were completely believable–from annoyance to rebellion to fear to love to confusion, her voice was absolutely true to her character. While the subject is horrifying, Collins did not dwell on violence. There were no pages I felt like I had to skip because it was too graphic.

I don’t want to say any more, since I don’t want to spoil anything for you. Let me just say this: I can’t wait for the sequel to come out.

Highly recommended for older teens and adults.

I also read the Underland Chronicles by the same author last year, beginning with Gregor the Overlander. Geared for a younger audience, they are fast-paced, well-written, and believably fantasical. I thoroughly enjoyed them. I’d recommend the series for readers ages 8 and up.