Twenty Questions to Ask About Your Fictional Country

Okay so maybe it’s more like forty-ish. It’s hard to design a country from scratch. Many authors have to design at least several. If you’re sitting in front of a blank page scratching your head, this list is for you.

1. What is the climate like?

Us humans are pretty adaptable. We make otherwise hostile environments work for us by tailoring our clothes, our diet, and our homes to the local climate. Even ceremonial or luxury objects are descended from very practical pieces of technology.

2. Is it landlocked, coastal, or an island?

There’s a reason that most population centers are near a body of water. Water is literally life. It hydrates us, harbors fish and seaweed, and lets us move faster and easier than we can on land.

3. What resources are present?

Natural resources provide the foundation for an advanced economy. Without a strong foundation, the people of this country might be dependent on foreign supply lines.

4. What is the terrain like?

Is it wide and flat? Or rugged and mountainous? The easier it is to travel and communicate the easier it will be for a central government to exert control.

5. Are there any natural barriers that would impede movement?

Does an ocean or mountain range protect the country from invasion? Do its rocky shores make a harbor difficult to build?

6. Where are the sources of water?

Is it everywhere or nowhere? Who controls the potable water?

7. How many languages and ethnic groups are present?

Do the people see themselves as part of a single whole or are they just temporarily united for the next few decades or the next century?

8. Have any of these people been recently displaced?

Have these displaced persons been accepted by their new community?

9. How is society organized?

Who has all the money? Who does the populace listen to?

10. What form of government is there?

Is it a new democracy? An ancient autocracy? Something in between?

11. Do the people look favorably on the government?

If someone were to start a revolt how many would be likely to support them?

12. What religions are practiced?

Possible flavors include monotheistic, polytheistic, animistic, ancestor worship.

13. Is there a state religion?

Does that state religion tolerate competitors?

14. Who are the country’s neighbors?

And if there are neighbors, do they get along? Are they part of a regional coalition or trade zone?

15. Is this country more powerful than its neighbors?

Is someone preparing for a war of aggression? Does the populace fear an invasion in the near future? Has revolution in a neighboring country put the ruling class on edge?

16. What are the country’s major industries?

Does the government feel that it needs to prop up these industries? Are any of these industries owned by the state?

17. Is the country dependent on its neighbors for any important resources?

Can these resources be used as a form of indirect control? Do the people feel that they are paying fair prices for these imports?

18. Does the country have any colonies abroad?

Who owns these colonies? Are they ruled directly? Are people born in the colonies citizens? What languages do they speak?

19. Are any parts of the country’s territory contested by its neighbors?

How long has this territory been contested? Do the people living there have family on both sides of the border?

20. Does this country have any historic rivalries?

Populations can have rivals just like people. Is the rivalry over religious differences? An ancient betrayal? Are the royal houses related?

The Best Things About Bending

Elemental magic is hard to do right. The four classical elements are so ingrained in us that we all are likely to add elemental worldbuilding into our first settings, but it’s hard to do well. The four elements have been done so much that it’s hard to be original. It’s hard to make elemental magic feel like it’s really a part of the world and not just a later add on.

Yet the elements are so pervasive that the internet is full of people showing off their elemental magics systems where they very creatively include their own elements like shadow, mud, or even magma.

There is nothing wrong with making an elemental magic system. It comes naturally to us for a reason. But if you want to your elemental magic to work it’s going to take a lot of effort.

Of the very limited selection of examples I have been exposed too I have only seen two instances of elemental magic done well; Codex Alera by Jim Butcher, and Avatar the Last Airbender.

Unlike Avatar, Codex Alera has six elements, not four. Each element has it’s uses, but some elements are clearly more useful that others. To be fair, the characters are at war for just about the entire series and for obvious reasons the characters are most interest in the elements that help them to kill the enemy. In Avatar the elements have a place in daily life and each can easily contend with the other. As much as I love Codex Alera, the world of Avatar just feels more alive.

Physicality

This is something that can really only be done in a visual medium, but Avatar does it so well. Not only is each of the four based in a different marital art, different styles have their own variations.

For me the most obvious example of this are the pro-benders. Their quick jabs and evasions evoke images of professional boxers, and the bending they do reflects that. They’re all about quick attacks and evasions and it shows. Against a real fighter not constrained by the rules of the ring they quickly fall short. There movements are of peoples trained to do one thing well rather than master their element.

What’s the best thing about this? For me it’s that practice gets results. In most fantasy it can be hard to show characters getting better with magic. In Avatar their magic is so tightly linked to their movements and thinking that it’s almost impossible not to. A bender’s philosophy and mindset impact their bending in a very visible way.

Balance

Elemental magic is so common that it’s hard not to have prejudices.

Earth, Water, Air, Fire. Which would you choose? Which is the best?

In fantasy that has a four element system we don’t always get an equal view of each element. Everyone expects fire to be aggression or water to be healing. Avatar may not give every element the same amount of screen time, but they each have the same amount of potential. Every element is shown to have its own limitations and strengths but none is ever made to look weaker than the others.

In fact the best benders, like Iroh, take the time to learn from the other elements and see what practices they can incorporate into their own art.

Incorporation

Each of the four nations is inseparable from their element.

Too often in fantasy, magic is treated as something separate from the rest of society. In the Avatar universe magic is inseparable from the larger society. The trains and mail in Omashu are moved by earth benders. The builds in the Norther Water Tribe are clearly built with the help of water benders, and the the Fire Nation could not have had its industrial base without the fire benders to power the furnaces.

This arrangement brings obvious inequalities to mind. What can a normal person do when bending is so prevalent?

It’s an important question to ask and one that doesn’t get enough attention in the Legend of Korra. What do non-benders get?

Even so, the prevalence of bending in these societies becomes even more important. What happens when technology progresses? What happens when the non-benders no longer need the benders? While not fully addressed in The Legend of Korra, it’s still an interesting question that fantasy should address. What does magic do when it can’t hide?

Conclusion

Avatar the Last Airbender is an amazing series. I’ve loved it since I first saw the pilot in a hotel room when I was ten. Any time I thought I might want to make an elemental magic system I’ve turned to the wiki and realized that I simply couldn’t beat it.

It’s not the magic, or setting, it’s how real everything feels. The entire world is infused with the love of its creators and speaks to the wonders that can be achieved by a few dedicated worldbuilders.

What I most love about Avatar is that the otherwise cliché elemental magic can be innovative in the right context. Any magic, any idea, can feel real in the right setting. It speaks to the strength of good worldbuilding and it has been in my mind ever since I saw the first episode.

Really though, the best part of Avatar is that the magic doesn’t feel like magic. It just feels like a part of the world.

If you liked this post and want me to help me stay up making more content like it consider buying me a coffee.

Campaign Cartographer: First Impressions

I am always looking for new worldbuilding tools. Am I substituting more tools for actually working on things? Probably, but it is fun.

There are a lot of worldbuilding tools out there, and figuring our which will best suit your workflow is tough. Personally I seem to just buy all of them, but that doesn’t mean you should have to. So, is Campaign Cartographer worth it?

I’ll be honest I had no idea what it was until ProFantasy started advertising their stay at home bundle. Now, compared to Wonderdraft these programs are expensive. But I got their map maker, city maker, and dungeon maker for about $60 on sale. Still not terrible considering all the included art assets.

I poked around online for some reviews. I wasn’t entirely thrilled by what I found but looking at the screenshots I really liked the art. A lot of it conjures up images of classic fantasy maps. That said, there’s still a lot to learn about making them.

On first glance the UI is anything buy modern. It’s not like wonderdraft were the icons immediately hint at what they might do. It takes some tinkering and a few checks of the manual to figure out. I don’t know about you, but as dated as this UI looks, to me it just oozes functionality.

I know it seems old but just look at how functional it is!

But that doesn’t mean it’s easy to use. After a few minutes I was able to figure out how to draw land masses and to add rivers. I wouldn’t say that they look any good, but I’m getting the hang of it.

While the UI is very different there do seem to be a lot of similarities when compared to Wonderdraft.

The most important shared advantage of the two are the art assets. Having premade icons for towns, houses, bridges, and what not are a huge timesaver. And just like wonderdraft it’s hard at first to figure out how to best use these assets and still seem original.

As long as you’re careful about what order you add assets in there is a lot you can make with just a small set.

Just like with Wonderdraft, the key is to experiment. After a few tries I think you’ll find that it’s easy to combine these assets to create something original. The trick is to be patient and not be afraid to start over. I know always want my first attempt to be the last but I don’t know of any project that doesn’t need a few edits.

So is campaign cartographer worth it? Is it better than Wonderdraft? To be honest with you, I don’t know. I can see already that both have a lot of potential, and Campaign Cartographer wouldn’t have lasted this long if it didn’t have potential. For me personally, I’m already enjoying Campaign Cartographer simply because it’s easier for my computer to run.

I’ll post a full review once I’ve had time to fully explore its features. For now it seems clear to me that Campaign cartographer has a lot to offer. Picking it up on sale and seeing if it’s right for you might not be the worst idea in the world, but be warned that it will take some getting used too. And right now they’re even featured on Humble Bundle!

Have you used Campaign Cartographer or Wonderdraft in the past? If so, do you have any advice you could give me? I’m always looking to learn. You can find me on twitter @expyblog. If you liked this review you can help support this site at the cost of a cup of coffee.

Five Tips for Fantasy Map Makers

1. Mind the Rivers

Some worldbuilders spend years getting their plate tectonics and ocean currents just right. All of this can be fun, but you can make a convincing fantasy map without it. The thing you should really focus on is rivers. No one really cares if your ocean currents are off or your mountains aren’t in the right place. Rivers have an intuitive aspect to them that no other geological feature can match and because of this mistakes are easy to notice. To put it simply, rivers flow from higher elevations to lower ones. Most often rivers will flow into lakes, oceans, or other rivers. Rivers do not flow into a lake, wait around awhile, and then flow into a different river.

This is important because an incorrectly drawn river is jarring to look at even if you don’t know why, and because rivers are hugely important to civilization. Most major cities are built on rivers in order to take advantage of the farmland and transportation that they provide. This means that rivers can serve as a vital plot device, and as such their portrayal should not be ignored. Of course all of this can be ignored, it is your world after all, but I would advise making sure that you have a good reason for doing so.

2. Make Your Map Fit Your Story

People grow to fit their environment. You wont find horse-mounted nomads living in the mountains or naval powers in the middle of the desert. People do the best they can with the hand they are dealt. In fiction, we can decide what that best is and determine a hand that will enable it. There is of course fun to be had in drawing a map and simulating the evolution of civilization from the stone age to now, but that is not what most of us are doing. Most of us have a story we want to tell or an idea for a world we want to depict. There is no reason then to design a landscape that does anything other than to enable the story you want to tell. If you want your countries to be fighting for control of a major sea lane they there better be access to water and natural choke points. If you want your characters to venture to a distant mountain and fight a dragon then you better include a mountain or two within reach.

3. Choose a Realistic Scope

A lot of us like to think big. We draw a map of an entire world, solar system, or even galaxy and then set about filling all of it in. The problem here is that you probably wont use most of what end up writing. Trying to fill every corner of a world with detailed is fun, but ultimately futile. Above all remember that map is meant to be a reference for your players or readers, and the focus of the story is likely to only concern a small corner of the world.

Lately I have preferred to start with a single region or country that is going to be the focus of the setting. Once I have a solid idea of what that country will be I start to fill in its neighbors. Unless I have good reason to, I try to avoid writing detailed histories of these neighbors. I make a brief summary of their current state and history, and after that I try to only flesh out the aspects of this neighbor in areas where they intersect with the story I want to tell.

4. Pay Attention to Natural Barriers

Rivers aren’t the only feature on the map that shape a civilization’s development. What hinders movement in your setting can be just as important. Swamps, mountains, deserts, and seas are all important in imposing limits on an empire’s expansion, providing shelter for smaller groups, and providing places to hide all sorts of interesting dungeons.

Once barriers are in place, routes to circumvent them gain immense strategic and economic importance. Mountains, swamps, and other remote areas might also be where your world’s exiles and hermits choose to live away from society. Both of these provide opportunities for interesting conflicts or quests in a story or campaign. Characters and armies can be sent to secure and defend mountain passes, or might discover that the old hermit living in the swamp has the answer to all of their problems, but reaching him can be an entire adventure in itself.

5. Don’t Be Afraid to Change Things

Getting wrapped up in the worldbuilding is easy. It’s also easy to be disappointed. The finished product rarely resembles the initial concept and there is nothing wrong with that, except of course if you are not happy with it. If you getting into your worldbuilding and you realize that you put a mountain in the wrong place or your cities are too far apart. If you begin to get the feeling that your map is keeping you from writing the conflicts and plot lines that you want then by all means change it. Starting a new project by drawing a map can be a great way to start, but that map should not be a cage. Sometimes we need to make revisions, and it doesn’t do any good to get too attached to a map you have drawn. Keep it of course, even discarded ideas can be useful later on. Don’t be afraid to retcon the entire map if it no longer serves its intended purpose.

Subreddits For Creatives

Reddit is one of the biggest sites online these days with so many subreddits available that you are almost guaranteed to one tailored to your interests. Think of any hobby or weirdly specific meme format and there is probably a subreddit for it. So what if you’re a writer or worldbuilder, what are the best subreddits for you?

Worldbuilding

It should really be no surprise that r/worldbuilding ranks among my favorites. The subreddit has grown significantly in the past few years and welcomes worldbuilders of all levels of talent. New artwork, discussion posts, and resources are posted daily. If you stay on long enough you’ll begin to see who the regular posters are and get to watch their work grow and develop over time. My preferred way of browsing this subreddit is to sort by new and look for discussion posts. Participating in brain-storming sessions or answering questions about your own world is a great practice and a good way to finally flesh out parts of your setting you may have overlooked and been putting off for later.

Imaginary Network Expanded

The Imaginary Network is a cluster of related subreddits dedicated to posting all sorts of art with credit to original artists. I like to browse through it when I’m facing off with writers block. My personal favorites are r/ImaginaryBeasts for making up new flora and fauna, r/ImaginaryBattlefields for thinking up climatic showdowns, and r/ImaginaryStaships for when I need my daily dose of SciFi.

Writing Prompts

When you feel like writing but don’t know what or you’re just looking for a challenge, r/WritingPrompts is sure to help with its long list of user-submitted starting points that range from established fandom to completely originial premises. The subreddit also hosts contests from time to time and has been the route through which many users have gotten their writing noticed. Writing a response to a popular post it can be a good way to get your writing more exposure online. Several frequent posters maintain personal subreddits to showcase their writing. Unfortunately, popular promts are often highly specific or tied to a certain fandom. If this is a deal breaker to you prefer something with a little more freedom then try the less popular r/SimplePrompts.

Map Making

If you’ve made a battle map for your D&D campaign, a fantasy island, a political map of your alternate history scenario, or you just like making maps then r/mapmaking might be the place for you. Like r/Worldbuilding it’s welcoming of all skill levels and is a great place to post if you’re in need of advice or feedback. Just make sure you have all your rivers drawn right before you post.

How to Build a Country

A lot of us like to bang our heads against the wall trying to design sprawling worlds to rival settings like Forgotten Realms or Middle Earth, but attempting a project with such a large scope takes time and may very well lead to disappointment when progress doesn’t come as quickly as hoped.

The good news is that you don’t need to design and entire world. Plenty of interesting stories can be told that take place only in a single valley, forest, city, forest, or even house. If you are designing a setting for your stories to take place in the you need to be honest with yourself about the story’s scope. Figure how much space your characters need and stick to it, make a few one-line summaries about far off lands that you can expand on if needed. Doing this will help you keep your goals in mind and prevent your worldbuilding process from taking over your writing process.

When it comes to worldbuilding there are two basic methods; Top Down and Bottom Up. The process I am describing here is called Bottom Up, where you start by building up a small corner of the world and then expand in scale to fill in the rest of the map. If you have a story to tell and don’t need an entire world to do it, this is where you would start.

For me, if I am going to build a world Bottom Up then I prefer to start at the national level. Even if I only have need of one or two locations in it, I like to have an idea of where my characters might be from and a general idea of events elsewhere that may have an influence on the course of their lives. This approach also makes it easier to focus on a world’s minutia, if that’s what you’re into, rather than getting distracted by what might be hiding in distant lands.

This list of questions is meant to help focus the scope of a worldbuilding project, and help you to decide on what matters in your setting and what does not.

Where is the country located?

Where a nation is plays a huge role in its success and failure. Just as it is hard to become a major naval power without easy access to the sea, it is also hard to build significant influence abroad if your tiny kingdom is sandwiched between two giant superpowers.

Rivers create avenues for trade and enable farming, mountains provide natural barriers and refuges for outcasts, forests and swamps provide a ready source of timber and place to hide all the things that go bump in the night.

Once you know what stories you want to tell, you can design your geography to create the setup to make it possible.

Where are the people from?

Mass migrations and invasions are hugely influential in our own history and can create divides within a populace that can last for centuries. A small group that speaks one language ruling over a much larger population is a situation that is almost guaranteed to spark conflict. Migrations can also explain why certain languages are spoken, or why your country has five different holidays on the same calendar day.

Going back further, these migrations can play a vital role to constructing the country’s mythos. Perhaps these people were once nomads and settled down after receiving the sign from the gods. Or maybe some of your characters are refugees that have been taken in and are trying to survive in an unfamiliar and possibly even hostile land.

Where are the major cities?

When your farmers go to market, where do they go? Where are the train junctions? Where do people send their children off to school? Where do they go on pilgrimage? What are their industries?

Besides the obvious points that major cities are home to centers of military and political power, they may also be the centers of regional rivalries or home to minority ethnic groups. People from different cities might speak different dialects, wear different cloths, celebrate different holidays, or speak with different accents.

Regionalism is an important part of this. No country is truly homogenous. The monolithic nation states today only seem that way because of decades if not centuries of effort expended to create a sense of national identity. In reality separate regions within a larger country may be fierce rivals, and may even hate each other. Or may compete for lucrative contracts and trading partners. In a nation with less centralized authority, these cities may even enter into their own treaties with foreign powers.

What do the people believe?

Religion can serve to unit a populace around a core of shared goals and values, or it can serve to drive a wedge between different segments of the population. Deciding what people believe goes a long way towards explaining their motivations and their biases.

Similarly, consider whether this country as some sort of national mythos around its creation. Does it see its history as a long and drawn out struggle for freedom, or do its leaders preach a vision of the future in which they dominate the continent? Just like religion, founding mythis can act as powerful motivators.

Who is the government?

Few things tell you as much about a country as who gets to participate in government and there are lots of interesting spins that can be put to make an established system of government unique.

First decide who has the power, the people, hereditary nobles, the king, the church, the rich. The possibilities are nearly endless here and you are free to imagine all sorts of checks and balances, traditions and laws surrounding voting, and even past civil wars that have shaped politics in the country’s “present.”

Once you know who calls the shots, you can start to imagine who might be demanding a larger voice in government.

Who are the country’s neighbors?

I warned before against trying to create an entire world when you only need a small corner of it. That said, it’s important to know where the nation stands. A quick list of what countries border this one, who its allies and enemies are, and who buys what from who will help you get a clearer picture of that larger world.

If the country’s neighbors are likely to play a larger role in your story you might spend a few more paragraphs on past conflicts, customs, and clothing so that you can quickly create foreign characters for your protagonists or player characters to interact with.

Armed with this brief outlining you’ll be able to quickly incorporate one line references to far off places. Small details like this are a huge part of what gives a setting sense of size and depth.

Conclusion

Do you prefer this approach, or would you rather build your worlds from the top down?

There are many more questions that can be asked to facilitate this Bottom Up approach. Find me on twitter if there is one that you’re especially fond of or wish I had included.

Summer Reading 2019

We all make promises to ourselves that we can’t keep. We say we’ll go on a diet or go to the gym more, or spend more time outside. If you’re like me you probably tell yourself you’re going to read more. That’s what I told myself at the beginning of the summer and I did, but not as much as I had hoped. I told myself a similar lie when I said that I would get this written over a month ago. And yet here we are.

So here is my very late list of some of the reading I got done this past summer.

Dune

Every fan of science fiction has probably at least heard of Frank Herbert’s masterpiece and with a new movie adaptation on the horizon it’s bound to get even more buzz. I first read the series back in middle school, it was one of the books I would bring with me every day to read on the bus and during study hall. It’s amazing the details you miss out on when you’re fighting to stay awake on the ride to school because you stayed up too late reading the night before.

I’ve been telling myself for years that I would revisit Dune to take in some details that I missed on my first read-through or that simply went over my head at that age. Well, I’ve finally accomplished my goal, or part of it. Back in July I was gifted the book on Audible and finally gave the platform a try (I admit this is a loose definition of reading). I never thought I would enjoy an audiobook but this really changed my mind. The narration brought the characters to life and some sections of the book even boasted separate voice actors for each character. These different voices helped greatly with immersion, especially in the case of Baron Harkonen. My only complaint is that the entire book was not narrated in this style.

I was really amazed by how many details I missed out on. Frank Herbert crafted a book with a complex setting that feels lived in and distant, but familiar at the same. I thought I knew the story well but I felt as if I was experiencing the book again for the first time. These books certainly deserve more than one read to really appreciate.

Velocity Weapon

I haven’t been doing much to keep up with recent scfi, or keep up much with scifi at all. So when I saw Meghan O’Keefe’s Velocity Weapon on sale I wasn’t sure what I was getting into. Boy do I regret staying away from scifi for so long.

O’Keefe introduces us to rogue AI, a wounded gunnery sergeant and her brother, and a thief living in the slums of her planet’s habit domes. The action takes place across two planets and a space ship, and leaves you guessing for much of the book about how they connect and what is real. O’Keefe does a great job keeping the reader in the reader guessing. Several times I tried to guess at an upcoming plot twist and turned out to be right, but the book keeps its secrets leaving readers to discover deeper plots alongside the characters.

The Darkness That Comes Before

I have a friend that has been trying to get me to read some of R. Scott Bakker’s work for years now and this summer I finally picked up the first book of “The Prince of Nothing” which is in turn the first trilogy of Bakker’s “The Second Appocalypse.” Before going on I should point out however that these books are not for young readers, and certainly not for those who might find gruesome of explicit content in their books disturbing. With that said, I very much enjoyed this book.

I started out unsure of how I felt. The book throws a lot at you in the opening chapters and doesn’t give a whole lot of explanation of what is going on. Overtime we learn a few things, Achamian is some kind of sorcerer who belongs to an magical order called the Mandate. Kellhus is a monk who has been sent out to accomplish some task that we aren’t quite sure of yet. And there is a holy war coming that several factions are fighting to take advantage of.

The book has a lot of things that I enjoy including a deep sense of history. The world we’re shown just feels old and there are constant hints of a greater past that has been lost. Bakker’s characters are deeply flawed and readers will likely be hard pressed to say that any of them are truly good. These are characters who have been shaped by a harsh world and their actions show it.

Magic is shown to be incredibly powerful in these books. At one point we are shown a relatively small group of sorcerers who annihilate a much larger force. With that said, magic is not something that is used frequently, at least in the sections that I have read so far. In fact we are told that Achamian, on of our POV characters, is incredibly powerful. Enough so that even the leaders of other magical schools seem to be wary of him and yet in the entire book we only see mentions of his power but few actual demonstrations. If anything I think this shows his strength more than any spell-slinging could.

The Thousand Names

Django Wexler’s books have been on my to-read list for a long time now and I have to say that I regret waiting. The series takes place in a gunpowder fantasy setting and follows a group of soldiers assigned to their kingdom’s colonial forces and in the beginning of this book find themselves faced with the difficult task of reinstalling the local rulers following an anti-imperialist coup. Their situation is then made more difficult by arrival of reinforcements led by an eccentric commander who has other motives for having requested this assignment.

I really enjoyed the book’s focus on the common soldiers and its portrayal of napoleonic style tactics in a fantasy setting. Even though this is a fantasy setting magic is not seen for most of the book. Features that initially seemed magical later turn out to have much more mundane explanations. Not to worry though, the book’s namesake turns out to be central to the plot later on and my initial impressions of the second book lead me to believe that magic will become a bigger part of the plot as the series progresses.

Worldbuilding: Getting Started

Spend some time of r/worldbuiling and you will see that many posts are from new users asking how to start worldbuilding. The short answer to this is simple-however you want! But since it seems to be such a common question I decided that I would outline my worldbuilding process here for anyone who wants to start but isn’t sure how.

1. Pick a Medium

There are a lot of ways to organize your worldbuilding. For most of my projects I like to start with a nice notebook. This comes with a few limitations, it can be hard to keep topics organized and it can be hard to go back and change major details and keep everything looking neat, but if you are as fanatical about writing implements as I am then it’s a fun way to worldbuild and use your favorite pens at the same time.

Other people use OneNote, word documents, personal wikis, or services like WorldAnvil. In the end it doesn’t matter what medium you use as long as it suits your needs or preferences.

2. Have an Idea

A lot of career advice talks about having an “elevator pitch” ready and you should have the same for your setting. If you’re making a world to run a table top campaign then this pitch might come from your players. Maybe your players want to run a wizard mafia, or find an abandoned city in the far north surrounded by frozen tundra. If you’re worldbuilding for fun or for a story you plan to write you might ask yourself what would happen in a world where the industrial revolution happened a few centuries early or Rome never fell. Once you have a theme to explore or a specific scene in mind you’ll find it much easier to make a setting where those themes or scenes are possible.

3. Pick an Era

Deciding on the level of technology found in your setting is important. It establishes the tools available to your characters, the capabilities of governments, and the resources that countries are willing to go to war over. In a world where everything runs on steam coal will be a much more valuable resource than oil, but if you’re writing diesel-punk this dynamic will be reversed.

When I pick a technology level for a setting I tend to think in terms of centuries. This is just to help visualize the kind of technology and tools available in your setting and should not feel like a limitation. In the end this is your world, if you want to introduce a new technology or put a new spin on historical inventions then do it!

4. Magic

Easily accessible magic will drastically change the dynamics of your world, so deciding if magic is common, or if it exists at all, should happen early on. You should also consider outlining the limits of your world’s magic and whether it can be classified as “hard” or “soft” magic.

If you are considering a world in which divine intervention is a regular occurrence, this would be the time to do it.

5. Make a Map

Our culture is shaped by our environment and who we come in contact with, our economies are shaped by the resources available to us, and these along with other considerations shape the conflicts we engage in. Since you are probably not going to start from the creation of your world and move forward, you’re going to need to picture the “current” state of your world and work backwards to decide what geographic features might have contributed to its current predicament. Mountains, rivers, and oceans can form natural barriers and help explain why a certain culture has stayed relatively isolated, the positions of trade routes, harbors, and rivers will decide where your major cities go.

Scale is important to think about here. You might be tempted to create an entire world map on your first go, but you should consider how much of the world you need to show for your story. Mapping an entire world is fun, but you might find yourself biting off more than you can chew. To combat this I now only map out the region that I plan to focus on and wait to flesh out others areas until I need them.

6. Fill in the Rest

This is the part where you let your imagination run wild. Outline character bios, write the histories of obscure locations or the stories of empires. There’s not really any wrong way to do this. It’s your setting, do what you want with it.

“Dark Green, Wet Fur, and an Echo” – Part 2

The creature roared and lunged at David. He dove to the side at the last moment and felt one of the monster’s teeth drag across his rib cage. Reflexively his hands went to the wound, causing him to slam his rock into his chest.

While he doubled over from his mistake, the creature’s momentum carried it out of the chamber and into the stream. It splashed violently in the water as it reoriented itself, giving David time to regain his composure.

Another roar was let out by the monster as it charged at him again. This time David intended to face it head on.

He ran straight for the creature’s maw as it opened. Its snout knocked the wind out of him and propelled him into the air. Just as he had hoped for.

His trajectory sent him flying towards the creature’s eye. With all the strength that he could muster, David slammed his rock into the beast’s eye, before he himself slammed into the top of the creature’s skull.

The thing let out a blood-curdling howl and attempted to shake him off. David was thrown against the cave wall and for the second time in the course of their fight had the wind knocked out of him.

While the creature continued howling in the cave, David seized on his opportunity to escape and ran back out to the stream. This time he followed it downstream, reasoning that if he followed it he would reach the shore eventually.

Paying little heed to the slippery and uneven path before him. David ran, eager to escape the sound of the creature’s howls that still thundered behind him. He still hadn’t figured what sort of beast it might be, but nothing he had even seen looked quite like what he had just fought.

Only when the howling faded did he risk slowing down to catch his breath. David was unsure of how long he had been running for, but already the cave seemed as if it had no end.

As the combat high faded David also became aware of the beating his body had taken. His head wound was still seeping blood, and the gash on chest had already soaked his shirt. All this was further compounded by the many sore spots he had just acquired that were sure to bruise later.

“And my wrists are still tied,” he said sadly, before pushing those thoughts from his mind. Right now his priority was getting out of the cave.

New sounds began to filter into the cave as he went on. He heard mostly the calls of tropical birds, and tantalizingly, the faint murmur of human voices.

Suddenly, he heard voices above him.

“Reckon he’s been eaten yet?”

“Aye. That bastard is all bones by now.”

David pulled himself closer to the wall. Was it the pirates? Somewhere above him he could hear their voices. He waited, expecting that at any moment one of them might look down into the cave and spot him.

“Sure was quite a ruckus. Think the old girl is having her fun?”

“Ha! Yeah. Almost as much fun as we had with his crew!”

David felt the anger well up inside him. He tamped it down. He was in no position to exact vengeance. Still, he took the voices as a sign that he was nearing the exit.

The cave finally ended. At its mouth the shallow stream that he had been following fell off a short cliff before snaking between the trees of the island’s jungle.

Again he could hear the voices from before. David ducked back into the cave just as a pair of men appeared before the entrance.

Both were unassuming and, David observed, drunk. Despite carrying weapons it was clear that neither of them were expecting trouble. They probably counted on the monster to take care of prisoners without issue.

With his hands still tied, David’s options were limited. His only real chance of success would be to tackle one of them, and hope they broke his fall off the cliff. He sized both of them up. The one on his left was a giant of a man, but carried only a knife, while the one on his right was equipped with both knife and pistol. Right it was.

Once he decided on a course of action he charged. Thinking about it anymore wouldn’t do him much good.

Both men yelled in surprised as he made contact with his target. Followed by the screams of his victim as he and David tumbled over the ledge. David closed his eyes and prayed. He’d find out soon whether he had timed his attack right or not.

The impact came quickly and was accompanied by a sickening crack as the man’s next snapped. Above him on the ledge, the man’s companion had already drawn his knife and was making his over to a narrow footpath that would bring him to David.

David lunged for the dead man’s pistol.He clumsily pulled it from its holster and managed to cock it.

With careful aim he fired as the second man rounded the corner onto the footpath. A bloody hole appeared in the man’s chest and he tumbled down the hill.

From the cave, David heard a muted roar. He beast had followed him.

Working quickly, he drew the knife from the first man’s belt and used it to cut the ropes binding his wrists together. He felt immediate relief from the chafed skin and stressed joints, but he had little time to enjoy it. The creature was sure to be closing in on him.

He tucked the knife into his own belt and took off running down the hill. Running down the incline he had little control over his trajectory, he cared little so long as it was away from that monster.

Soon he noticed the scent of salt water on the air. Finally he was getting close to shore.

He came too, or rather ran into, a low wooden fence that surrounded a small village on the beach. In appearance it was little different from any of the other countless illicit settlements built by pirates and smugglers.

If he squinted he could make out the silhouettes of four ships anchored offshore. David’s heart lept into his throat when he caught sight of his ship, the Sovereign, anchored safely beside the others. If he could reach it he would be saved. Although he had never put them to use, he knew that the ship had old enchantments that would allow a single man to sail her for a short time. His only obstacles were the village before him, and the monster behind him.

Inspiration struck when he looked down at his own blood-stained shirt. He had blinded the creature hadn’t he? The only way it could be tracking him was by scent, and he had left plenty of his own blood back in the cave.

Another roar came from behind him and he saw several heads in the village turn to look in his direction. He had to act fast. One last burst of action and he would be free.

David vaulted over the fence and ran up to the first building he saw. In his predicament he couldn’t afford to be picked. A glance over his shoulder told him that the beast was near, and currently crashing through the foliage outside the fence.

Hurriedly, David drew his knife and made a deep cut across his palm.He smeared the resulting blood along the wall and took off running towards the beach just in time to hear the monster crash into the house he had just marked.

He ran, paying little heed to the people around him or who he shoved out of his way. The crowds for their part were too distracted by the monster to pay attention to an escaped prisoner. Screams filled the air. Men ran to get their rifles, or just ran. Whatever semblance of order that had existed before descended into chaos, as the blind and angry beast tore into everything within its reach.

All along the shore people were scrambling for their boats. David could hardly believe his luck when he actually spotted an abandoned rowboat. He dove into it, allowing his momentum to carry the boat for the first few feet. Then he grabbed the oars and began paddling, ignoring the protests of his battered body.

Now he was treated to an uninterrupted view of the hell he had unleashed upon the village. Already several buildings had caught fire, and the flames were spreading. The futile crack of gunshots reached out to him across the water. David knew that massed volleys would be needed to take the monder down, and he doubted that the pirates had sufficient discipline to pull it off.

Where he should have felt guilt of the terror he had drawn to them, he only felt satisfaction. He had brought about his vengeance, even if it been inadvertent. David allowed himself this one emotion after a day of suppressing all others that came to him.

As he came up alongside the Sovereign he felt a strange sense of peace even as he watched the continued destruction. He’d being returning to an empty ship, as far as he knew the rest of the crew had been killed. He alone had lived.

He started laughing.

Imposter Syndrome

A cold wind swept over the surface of the tiny lake, buffeting Erik as he sat down on the gravel shore. He shivered, he had been gone a long time and was no longer used to the weather. Behind him, his new body guards stood ever watchful and seemingly unbothered by the wind. He looked out over the lake, examining the curve of it’s shoreline, and the gentle ripples that travelled along its surface.

As he sat there a singular thought consumed him, the same though that had occupied every waking moment he had had for the past week; he should not be there. No, he decided, it was more than a thought, it was a feeling, an instinct. One that reached deep into his core. He was neither worthy enough, nor suited for the task before him, and yet it was he who had been chosen.

He reached into his pocket and retrieved the crumpled letter that had been delivered to him just days before. When it had arrived, they had found him living in a small fishing hut in greece, the valkyrie that had delivered it was stern, as was typical for her type, but through her facade he had sensed a deep worry. It was then that he had found out that his brother Poul had died two weeks earlier, and he had learned what was to be his own fate.

You, Erik. Who have strayed far from northern shores and wandered for these past eight years, have been chosen by decree, vote, and fate, to rise to the demands of destiny. This is both a great honor, and burden, one that you have been judged capable of bearing. You will return to the land of your fathers with all haste. All travel arrangements have been made. Synnove, whose presence now indicates both the validity and urgency of this message, shall be your guide in whatever path you choose. We, your humble servants, eagerly await your return.

It hadn’t been a choice, not really. Returning home would have been the only way to find out what happened to his brother, and he knew that Synnove would have killed him if he refused. It never helped to have potential rival claimants running around. A flight out of Athens, with a connection through Germany, had brought him to Stockholm. Where yet another plane had waited to fly him to the little valley in which he now sat. All through the journey, Synnove had been a perfectly silent and infuriating travel companion. As she stood behind him now he was just as annoyed by her imposing presence as he had been when she watched him sleep on the plane.

Not that she was the only one watching him. A score of valkyries had dispersed themselves around him, trying their best to look disinterested. Meanwhile, if he looked around the lake and to the compound that sat on it’s northern shore, he could see security details bearing a dozen different family crests. Each house was especially suspicious of the other. He had learned on arrival that his brother had been killed in the most recent of ten assassinations that had taken place over the previous year. Everyone he had asked had heard a different rumor, all about a supposed new and unnamed Loki that was behind the assassinations. A few, although those were in the minority, thought that this might finally herald the arrival of Surtur, and the beginning of Ragnarok. Erik was partial to the idea that some foreign actor was trying to drive a wedge between the houses, but he didn’t go so far as to claim that this was the beginning of Ragnarok.

In such a tense environment each of the houses was accusing the others, and all feared that someone might interfere with the coronation. The Norns had bowed to the intense political pressure and allowed each house to send security details, on the condition that only the valkyries would have direct access to Erik.

Taking another look at the openness of his surroundings, he was surprised that his guards had let him come outside. Without trying he could spot half a dozen places around the lake that would be perfect for a sniper. No doubt Synnove was cross with him. The thought of her seething beneath her expressional face gave him a small amount of satisfaction, but was of little comfort.

Poul’s reasons for choosing him were clear. As his brother, Erik was unlikely to have killed him, and being away for eight years meant that he was distanced enough from the local politics that the houses would accepted him as a relatively neutral party. Thirdly, his travels had been extensive, and for a community that could at times become so consumed by its internal affairs that “worldliness” was correlated with wisdom in their minds. He glanced up at the compound, there was still time to escape. Not that the valkyries would let him get that far. He pushed those thoughts away. It was his duty to go on with it, both as a northman, and in memory of his brother.

A bell tolled in the compound.

“It’s time to go,” announced Synnove. It was the first time he had heard her speak in days. Erik brought himself to his feet. Might as well get it over with.

They followed him to the lake’s northern shore, where a set of covered stone stairs led up to the rest of the compound. The stone stairs were ancient, Erik would never have dreamed of trying to guess just how old they were, and the Norns weren’t inclined to reveal much about themselves. The steps were lines by wooden columns carved into the shapes of trees that supported sculpted roof of wooden leaves. To Erik’s displeasure it didn’t do much to stop the wind.

The stairs winded him. There he was having spent eight years walking across Europe, and still he could be defeated by a set of stairs. “Some All-Father I’ll be, huh?”

“A fine one indeed, sire,” said Synnove beside him.

Erik looked at her, surprised that he couldn’t detect any hint of sarcasm. “Do you think so?”

“Of course,” Synnove replied. “The best leaders are the ones who don’t want to be. It keeps you humble.”

“I hope you’re right…say, which way do we go now?” They had reached the top of the stairs, putting them in the middle of a long, curving hallway that went along the outside of the building.

“This way sire. We’ll take the long route.” Synnove led him down the hallway, which was lined on the outside wall with statues of past Odins and other warriors of note. Along the inside wall was the massive tapestry that the Norns labored on endlessly. Anytime something of note happened in the world the Norns wove its story into their great tapestry. Layers and layers of vibrant fabric were wrapped around the center of the building. Synnove took him to the leading edge of the textile, where a pair of younger norns were working on the tapestry.

His brother’s statue sat regally at the tapestry’s end, and upon closer inspection Erik noticed that they were adding his brother’s death to the weave. A stylized image of Poul was shown clutching a gunshot wound to the chest, and without any information on the shooter, an image of loki was used instead. The Norns had always favored style of fact.

“We don’t have time to wait,” Synnove reminded him. “Here, take these. They’ll help with the pain.” She handed him a pair of white tablets. Erik nodded his thanks and swallowed them quickly. Now that he was so close to the coronation he was filled with an overwhelming desire to get it over with.

The inner wall had a single arched entryway that the tapestry was woven around to accommodate. Inside was the great courtyard that took up most of the compound. In the center grew a massive oak tree, with a gray stone slab placed among its roots. The three eldest of the Norns presided over this slab, flanked by valkyries and various dignitaries. A host of arctic dwarves stood off to Erik’s left, and in the oak’s branches he thought he was able see the flutter of the elvish delegations. No words were spoken as Erik approached, and took his place at the slab across from the Norns.

“Erik Larson,” spoke the the most prominent of the three. “Do you accept the mantle that has been offered to you?”

“I,” Erik paused and looked around him. Most coronations were done with a sense of melancholy, it was a chance to say goodbye to the old ruler and welcome the new. He could see that his coronation would not be like that. On every face he saw sadness, worry, fear. It wasn’t about what he wanted, he realized. It was about what he needed to do. These people needed someone to lead them, who they felt they could trust, they needed him. “I do.”

Her wizened old face smiled sadly, and she nodded. Around the came the below of hunting horns, and a group a valkyries emerged from the arch behind Erik carrying a body obscured by  funeral wrappings.

The lead Norn drew a knife from beneath her robes and stepped around the slab. In unison they began to speak. “As we commend the body of the All-Father to the heavens, we welcome into our midst a new ruler. Erik Larson. Fate and circumstance have chosen you to lead us. Circumstances that once forced you away from our lands have now caused you to return, and fate decrees that it is you who will become our next Odin. Kneel.”

Erik lowered himself to his knees, and the Norn moved closer.

“Having accepted this burden you will now pay the price of wisdom. As have all those who have walked before you,” they declared.

Erik braced himself for what was to come. The lead Norn grasped his head and brought the knife close, and with a well practiced flick of the blade she removed his left eye. Erik recoiled and pressed his hand to the now empty socket. He fought every urge to cry out. He had to remain stoic. He had to prove that he could take the pain.

This was the price that every Odin paid for wisdom. It was felt that a leader could not lead until he knew pain. That before he declare war he must know something of it’s costs. That a leader must be willing to sacrifice for his people.

A pair of valkyries came and took him. Carrying him between them as if he were a sack of flower, they brought him around the slab, behind the Norns, where a small pond sat between the roots. He was dropped in, the strong arms of the valkyries holding him beneath the surface as he struggled for air.

Be patient, he told himself. He knew that this was just another part of the coronation, but what if it wasn’t? For a moment that thought entered his mind that it could have all been a ruse to eliminate the only person with reason to avenge Poul’s death. Where the Norns to blame? They were not ones to take such overt actions. No. He had to trust in the Norns, he had to let this happen.

As his struggling stopped he no longer felt the pressure exerted by the valkyries. A single hand reached down and grasped his, pulling him from the water. He gasped for air as he broke the surface and was pulled to his feet. Before him stood Synnove, his hand firmly grasped in hers. Behind her stood the Norns, watching, as they always did.

“Hail Odin! Father of all!” Cried the Norns. Synnove and the Norns bowed, followed by the host of assembled dignitaries. An attendant hurried up to him and kneeled at his feet, offering a lit torch. Erik accepted the torch and looked to the slab. The oiled and bound body of his brother had been placed upon on the slab, and piled high with oiled logs and cuttings from the tree.

Erik walked towards the slab. Reaching under his collar he pulled forth a medallion which Poul had once give him as a gift. He placed in over his brother’s heart, and lowered the torch to start the pyre.