Category Archives: Setting and Milieu

The Myth Behind the Days

The God Mars
The God Mars
Humans are incredibly imaginative creatures. When faced with concepts that cannot be explained with the current level of technology, we create elaborate stories to fill in the holes. Of course, as time passes and our level of understanding increases, we are able to replace these stories and they become the myths and legends of old. However, we never truly leave these legends alone, and if you look closely, you can see their memories reflected in modern day life.

Mythology can be seen in many aspects of our lives from the names of the months to the stories we tell our children. Even the days of our week, words that many of us use daily, are remnants of these past gods and their influence upon the world.

This will be posted on a Tuesday. A simple word that probably resonates more to you as the second day of the workweek than an old homage to the lost gods. The real story, however, relates Tuesday with the Roman god Mars. Mars, or Tiw in Old English, is the Roman god of war, and second in the pantheon only to Jupiter. Tuesday (Tiwesdæg) is a reminder that Mars was always watching with his spear raised, and that you only lived in peace because you won the war.

Next we look at Wednesday. Wednesday was named after Wōden, the Old English equivalent of the Norse god Odin. Wōden and Odin both of whom gain their origins from the Roman god Mercury, who is the messenger of the gods. His appearance was very close to that of Hermes to include the winged shoes and the herald’s staff. He is attributed as being a psychopomp, which is a being who guides the dead to the afterlife. There are even stories of Mercury bringing dreams to people as they slept.

Thursday is probably easily recognizable these days as remembering Thor, the Norse god of thunder. Thor is well known for his giant hammer, Mjolnir. This hammer had the ability to return to Thor’s hand when thrown. Even with all his power, he wore a belt that doubled his strength. He is known for his temper and was a dangerous warrior. Thor was a favorite god among the working class. Many wore necklaces of Thor’s Hammer and asked him for blessings of fertility.

Friday was named after Freya, the Norse goddess of sex, beauty, love, and fertility. She was awesome. She was beautiful, a leader, and she had a chariot pulled by cats! She owned an amazing necklace that was coveted greatly and a cool falcon feather cloak. Back in the day, Friday was considered a lucky day. It was a day to get married, have children, plant crops, etc. This was all due to the blessings the goddess would grant on her day.

Of all the days of the week, Saturday is the only one that maintains its Roman origin. Saturday is named after Saturn, the Roman god of agriculture and harvest. Saturn’s influence can be seen in Roman lore as a golden age, or time of abundance, among men.

Sunday, named for the Norse goddess Sunne (or Sunna) also known as Sól. Sunne rides across the sky in her chariot pulled by the horses Allsvinn and Arvak (meaning “Very Fast” and “Early Rising”.) Sunne is said to be pursued by a wolf named Skoll. (In fact, Eclipses are said to be the cause of the wolf getting close enough to take a bite out of the sun.) Sunne will continue until the Ragnarök, the “end of days’ for the gods. During Ragnarök, many of the gods, such as Odin, Thor, Tyr, Heimdall, etc, will be killed. Sunne herself is said to be finally caught and consumed by Skoll. Once this happens, Sunnes daughter will take her place and provide sun to a new world of peace and love.

And we’ll end with a beginning. Monday gets its name from the old English Mōnandæg, or Moon day. The Greek Goddess of the moon is Selene, or Luna to the Romans. She is depicted as a beautiful woman with long black hair. She rides across the sky in a silver chariot that is pulled by either a pair of horses, a team of oxen, or even dragons. She is well known for her love affairs, including one with Zeus, the king of gods. Selene is a favorite among poets and authors for the love of the moonlight.

So, what does this have to do with writing? Looking at the history and myth behind simple words we use to tell what day of the week it is does more than tell a nice story, it adds depth to our world. You can take one word and link it back to centuries of people and gain an understanding of how their minds worked. As you build your worlds, maybe you should take some time and look at how the past has influenced and defined the people and their beliefs. It can be the little things that not only provide a little bit of depth and dimension to your world, it can be a fun exercise to get your ready for writing in a new world.

The Outsider’s Perspective

When I’m waiting at the bus stop, I see all kinds of people.  People with skin colours from cocoa to olive, from toffee to porcelain.  People in turbans, in hijabs, in saffron robes.  People wearing crosses, pentacles, Stars of David.  People of all ages, of all income levels, speaking a variety of languages.

When I’m writing, I want to reflect that kind of diversity in my stories.  Unless there’s a specific story-based reason for everyone to look the same, believe the same, and exhibit the same behaviours, I like my fiction to encompass the wide variety of human experience.

Growing up, I read a lot of stories based on Greek and Roman myth, Biblical personages, fairy tales, Norse legends, King Arthur.  The prevalence of these tales made sense in a historical context; these mythologies form the bedrock of modern Western culture.  I also found a few precious collections of different mythologies, containing very different personages:  Nanebozho, the Ojibwe trickster.  Rama, the hero from India.  Fox spirits from China.  I loved these stories.  I’d memorized Cinderella and Snow White.  These anthologies provided me with something new, something different.  As I grew older, I found that readers, and publishers, are increasingly open to stories featuring a wider diversity of characters, based on legends and mythologies from all over the globe.

Full disclosure time.  I’m white, female, of predominantly German ancestry, in a relationship with a man.  But I write about all kinds of people.  People whose life experiences I cannot base on my own; people whose cultures I was not raised in.

I have to be very careful when I write about these people.

Cultural appropriation is the act of taking something from another culture and using it to suit your needs.  To an extent, all cultures in contact mix and borrow from each other.  Suburban youth listen to rap songs about life in the hood; Canadian teenagers read Japanese manga; people all over the world go to movies based on American comic book characters.  There is, however, a tension in these relationships, particularly when a group with power plunders groups with less power, taking their symbols and distorting them, commodifying them, stripping them of their cultural context and selling them.  There is also a tension when people “try to be something they’re not,” particularly when this means they act out of fantasy and idealization rather than a true understanding, or forget their own heritage in the attempt to ape someone else’s.  Appropriation can perpetuate stereotypes (think of how Vodun, aka “voodoo,” struggles to be recognized as a religion), water down symbols (it’s hard to take a powerful symbol seriously when you can buy it as a T-shirt or fridge magnet), and confuse with partial understandings and half-truths.  Borrowing mythology from cultures not my own is tricky.

And yet, to write only about white, heterosexual people of European ancestry is both dishonest (in that it doesn’t reflect the totality of human experience) and dangerous (in that it insinuates these are the only people worth writing about).

The beauty of fiction is that it demands that I, as a writer, develop the ability to see through my characters’ eyes.  I need to know what motivates them, what their dreams are, what their fears are, what their goals are.  Their point of view makes sense to them and I need to understand it in order to figure out what they will do next.  I need to see them both in the context of their cultures, and as individuals, whose behaviours and beliefs may vary a little-or a lot-from their cultures’ norms.

And so I imagine what it would be like to be a man.  Or a lesbian.  Or a Hindu.  Or an Asian woman.  Or someone who lives in the 18th century.  I learn about issues these groups face that I do not, in the hopes that my portrayals are based on reality and not on stereotypes.  I do my best to portray the myths of other cultures with respect for the context in which those myths were created, and with the reverence I would give to the figures of my own childhood.  And I aim to honour, rather than use; to share in, rather than take.

It’s a balancing act, and I can’t please everyone, but when the alternative is to write about a world where everyone is White and European and middle-class and straight, I’ll take some risks, and do some research, to build a world that’s an honest portrayal of the human experience.

 

Writing in Our World Instead of Another

A guest post by Michael A. Rothman.

For a fantasy writer, it’s very convenient to create your own world – because you follow the rules that you set. Much like the famous Twilight Zone saying, you control the horizontal and vertical.

However, what if you want to embark on a journey that isn’t quite set in the mundane world you’re familiar with, yet you might be exploring some of our world’s mysticism? Things like numerology, religion, and legends are all fodder for creative authors to take advantage of.

Why would someone choose to dive into what is essentially someone else’s world? Use its characters and storylines?

PartingSea

The answer is rather simple – people are already familiar with the beliefs of certain religions. That being said, if your story relates in some way to something familiar, you’ll have a premade audience that will instantly relate in some fashion to your work. Think about it. How many people are familiar with the parting of a particular sea, or the turning of water into wine?

WaterToWine

These images are only the beginning, consider other concepts that have been leveraged such as fortunetelling or numerology. In the case of numerology, Dan Brown in the oft-cited bestseller, The Da Vinci Code, uses numeric sequences as clues. He poses many what-if’s that people could go ahead and investigate on their own.

In fact, I just recently finished a manuscript that leverages numerological concepts that follow both a religious and numerological theme. The earliest forms of the bible were written in Aramaic (same lettering system as Hebrew). From this, a numbering system that assigned numbers to letters and words was formed and is oftentimes referred to as gematria. Many studies associated with the bible and its hidden meanings use gematria as a form of numerology. An example of such a thing would be where I use an upcoming villain’s name as a code. His name is Bedsem. It’s a play on words in another language, but suffice it to say that I’ve used the gematria system to associate a numeric value to it. One that people might recognize with a simple illustration.

Bedsem

Yes, I’m guilty as charged. I’ve crossed several genres of religion and “sciences” to associated my villain’s name with what is oftentimes posed as the ultimate villain.

Consider that with numerology, you have the ability to pose many “what if” type of questions to the reader. Take certain “coincidences” in the world and make them go “hmm”.

A word of caution, though. Some people might take offense.

Let’s face it, as authors, we will inevitably write something that people will take offense with. I recall having a scene in one of my earlier books where I had two twelve-year-olds holding hands when one of them decides to give the other a kiss on the cheek.

Wholesome, right? Not a big deal, you’d think?

Well 99% of the responses came back on stating how refreshing and wholesome the book was and how nice it was to have something that was “safe” for the kids to read, yet was an epic fantasy. I only mention this because I got one or two comments that inevitably crucified me (ok, maybe poor choice of words considering context) because I was treating kids as sexual objects who shouldn’t look at each other that way. And to think most people don’t believe we live in a puritanical society. Hah!

When you begin to leverage certain things that people might consider a pseudo-science, you might not get too many critics – unless you’ve botched up your facts. However, once you dive into religion or certain cultural affectation or historical references, that’s when the people who take offense can most certainly come out.

For instance, Salman Rusdie wrote a book called The Satanic Verses. It won many prizes and was critically acclaimed by the literary establishment. All good things. Good until such time as some very conservative followers of a particular religion took great offense. Since the book does touch on one of the prophets from this religion, there were those in the conservative community that didn’t appreciate the way their prophet had been characterized. Given this belief that their religion was being assaulted, there were calls for the author to be killed.

Needless to say, this is the extreme of such possibilities – but when you leverage the topic of religion, it needs to be with both eyes open. Understand how others would appreciate your work or possibly misunderstand your intent.

I’ve spent years informally studying religion, numerology, and related topics – so I’ve been cautious about introducing these things. Nonetheless, these are tools in an author’s toolbox that are easy to deploy, and they can be a powerful draw to an audience that is a match for your subject matter.

***

Mike has had a long career as an engineer and has well over 200 issued patents under his name spanning all topics across the technology spectrum. He’s traveled extensively and has been stationed in many different locations across the world. In the last fifteen years or so, much of his writing has been relegated to technical books and technical magazine articles.

It was only a handful of years ago that his foray into epic fantasy started, but Mike is a pretty quick study. He’s completed a trilogy, has a prequel under consideration with editors, and is actively working on another series.

In the meantime, if you want to see his ramblings, he lurks in the following social media portals: Twitter – @MichaelARothman, Facebook, his blog, and his books.

 

Here There Be Dragons: Maps in Fiction

Jon Roberts_portrait
Artist, Jonathan Roberts

Guest Post by Jonathan Roberts

Let’s get one thing out of the way right now.

A map shouldn’t be pretty.

I know what you’re thinking – those posters of Middle Earth are gorgeous. Of course a map should be beautiful! But for worldbuilding purposes a pretty map is a Very Bad Thing. Beautiful things are precious, and we tend to want to leave precious things pristine and untouched. When we’re building worlds we need to break things, and often. So, out with any thoughts that we’re making a pretty map. We’ll be making a functional map. In fact we’ll be making many maps, one after the other. In exactly the same way that your notes are not the final manuscript, a map isn’t the final world. It’s a visual notepad, and you should be crossing things out, erasing sections and rebuilding from scratch as you go along.

So we won’t be needing photoshop today, we need a pad of scratch paper and a pencil. Ready? Right, let’s build a world.

First of all, think about the world you need to build. In many cases this is a defined area that’s much smaller than the planet you’re on. Very few stories truly span a globe, so let’s begin by cutting down to the area that the story explores. This keeps the work focused on a reasonable area, and means there will always be distant and mysterious lands to explore down the line.

In your tale there will be nations, city states or power centers of some form. Start by making a note of their relationships to one another. Are they at war? Are they aloof? Do they feud over resources or are they closely allied? Think over the things that make them stand out. Are they famous for their expansive grain fields? Their iron? Their navy? I’m sure you can see the theme here. Nations are defined by the geography they inhabit as much as we define the geography by the nation. A nation with a large navy needs sea access, but it should also have natural defenses like a mountain range that allows the nation to neglect other military forces in favor of its navy. Two countries at war need to be close, and need to have a means of attacking one another.

Focus on major terrain at this point–how much coastline and mountain range. Make notes about other terrain that comes to mind–the tulip fields of Alak’tor, the salt mines of Keshel. Those will come in useful later.

It’s now time to start our map. Grab a pencil and faintly draw in circles where your nations are. Nations that are allies or at war should be close. Those that rarely interact should be farther away, or have an insurmountable natural barrier between them. Drawing circles on a map may sound easy, but this stage can take a few tries to get the relationships right.

Jon Roberts_1BasicLayout
Stage 1: Circles. Yes, these are 6 interconnected nations!

But circles aren’t really a map. Let’s draw some coastlines. Think about which of your nations need large coastlines and which should be landlocked. Then let your pen wander. Really – avoid straight lines. Coastlines are jagged and broken things. If your line doesn’t look like it was plotted by a drunken ant, you’re doing it wrong.

Step 2: The coastlines. Keep them broken and randomized.
Step 2: The coastlines. Keep them broken and randomized.

Now let’s lay in some mountains. Mountains tend to form ridges. Avoid the temptation to fill in whole blocks of land with mountains. Instead, lay them out in wavy lines. They often follow the edge of a coastline (think the Andes). From a story point of view, they form obstacles for your heroes and they create natural boundaries between nations, or between nations and the great unknown. Mountains also create boundaries between climates. So if you need a desert in one area and a jungle in the other, you’d better place a mountain range between them to stop the rain from the jungle getting to the desert.

Step 3: Mountains - they shouldn't be pretty, inverted triangles do the job just fine.
Step 3: Mountains – they shouldn’t be pretty, inverted triangles do the job just fine.

Next up, we have rivers. Rain falls on mountains and runs downhill to the sea. It always flows to the lowest point – and there’s always one lowest point. This means that rivers don’t branch as they flow to the sea, they only join. So – no rivers going from coast to coast. At some point that requires water to flow uphill. No lakes that have two separate rivers leading to the sea – remember, only one lowest point leading out. Think of a river like a tree. There’s one trunk where it enters the sea, but a panoply of branches reaching towards the mountains.

Rivers are also strategically important. There’s hardly a river mouth in the world without a town on it and most great cities lie on a river. If you know where your cities are going to be, make sure there’s a decent sized river flowing through them. Equally, rivers make great defenses. It’s hard to build a wall all the way along your nation’s border, but it’s almost as hard to get an army over a well-defended river as it is to have them scale a wall.

Step 4: As rivers run to the coast they only join, they never branch.
Step 4: As rivers run to the coast they only join, they never branch.

Add some hills to the edge of your mountain ranges. Lay in some forest and see how it looks. Remember, don’t be precious. If you don’t like it, start on a new sheet of paper. Sketch another coastline. Turn it upside down.

When you’re happy with the terrain, go over the pencil lines with pen, and erase the pencil–including your nation boundaries. Scan and photocopy the map. Go away and have some food.

When you come back, try the following experiment. Ignore your previous nations. Look at the virgin world with a new eye. If you were founding a country in the world, where would you start? What would be the key strategic choke points? Look at the world as if you were playing Civ. Where are the resources you need to defend, what lands would you try to annex? Use some colored pencils to sketch in different nations and boundaries. Edit the rivers if you need to, move things around. You’ve got lots of copies of the map–experiment.

Once you have a layout you like, we’ll add cities.

Step 5: Hills and Forests, add them wherever you see fit. These are easily moved.
Step 5: Hills and Forests, add them wherever you see fit. These are easily moved.

Cities are where they are for a reason. They don’t just appear up in the middle of nowhere. Population centers need food, water, trade and security. Rivers can provide all of  these, which is why towns and cities tend to spring up at river mouths. Locate your capitals in places that are easily defended and that have good transport connections to the rest of the nation. Place smaller cities in key locations, whether that’s in the heart of a mining community on the edge of a mountain range, at a key strategic river crossing, or a market town in the middle of leagues of prime cattle-ranching land. At this point, also mark in major fortifications.

Step 6: Place cities, towns and fortifications.
Step 6: Place cities, towns and fortifications.

With these indicated it’s a simple matter to place the roads. These will connect the major cities, the main food producing regions, and any other major trade routes.

You now have a perfectly functional map! But remember, nothing is set in stone. Each time you run through this process your map will be better. Each time you sketch the map you’ll have new ideas. As you continue to write about your world you’ll come up with new thoughts on what terrain you should have, how two countries relate across their border, where a great wilderness needs to be. Redraw the map – it’s there for you. Both your map drawing and your text will be better for the relationship between map and story.

And when your manuscript is ready to go from draft to final, your map will be ready to go from sketch to illustration. But that’s a post for another day.

Step 7: Colored and finished!
Step 7: Colored and finished!

If you want to learn about the art of mapmaking, then check out the Cartographers’ Guild, or my own tutorials.

Jonathan Roberts grew up in a old farmhouse between a ruined castle and a Bronze Age fort, so lands of the imagination were never far away. These days Roberts illustrates maps of real and imaginary worlds for a wide range of clients, from brides looking for an unusual wedding map, to the lands of Westeros and Essos for George RR Martin’s Song of Ice and Fire. Along with his own illustration work for books and games, Roberts has curated New York gallery shows of maps by illustrators around the world.