Writers in the Storm

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World Building-Part 2: Social and Cultural Aspects

by Fae Rowen 

As exciting as it is to create a physical setting, my favorite part of world building is the cultural aspect.  Out of the world's culture comes the social customs, which can really show life on the planet.  Of course, there are rules.

Rule #1:  As an author, you must know the details of the backstory for your world's culture in order to build a society that makes sense within the physical context of your setting.  This backstory should never be info-dumped on your reader.

In fact, your reader will probably never know any of the cultural backstory of how your world came to be unless one or two--no more!--small points of cultural difference are integral to your plot.

Think Harry Potter.  Over the course of the series we learned about the wizarding world, but just how many readers would have made it through the first book if, instead of action, J.K. Rowling gave us a history lesson on how Hogwart's came to be?

George Lucas got lucky with Star Wars.  He got to write the prequel, AKA backstory, when he decided to film Episodes 1, 2, and 3 after the success of the original three movies.  Save the backstory for your prequel series.

Rule #2:  Show, don't tell, the social and cultural world you've designed.

Yes, that "Show, don't tell" thing again.  Instead of telling me how hard it is to survive on the moon, show me your characters struggling with leaking air seals, glaring relentless sunlight with patches of shade, or playing with the effects of gravity that is only one-sixth that of earth.

Historical authors show their past "world" with accounts of clothing, food, and social customs.  The only difference between world building for a past setting and a future setting is that some things are fact.  The historical writer must still build the world according to the time and place of their story.  Jayne Ann Krentz , writing as Amanda Quick in Wait Until Midnight, crafts regency romance with suspense.  Her details of rooms, carriages, and butlers show her readers how the culture of the time shaped social customs.

By looking through the "lens" of your social and cultural world the reader will experience life as if she's there.  A few small sensory details is all it takes to show us important differences.  I find that when I rely too heavily on the sense of sight I begin telling. Enabling your reader to see, hear, smell, and touch  is how you show, rather than tell, about your world.

Rule #3:  Reveal the differences in the culture as if you are unrolling Cleopatra from her carpet.

You know the story of how Cleopatra rolled herself into a carpet and had herself delivered to Julius Caesar.  Imagine his surprise as the beauty of the carpet was revealed and then, he saw Cleopatra.  If you can do that for your readers, you've hooked them.

You've worked hard to fit together a cohesive society.  As you reveal the changes, it raises the stakes for your characters.  Each successive revelation should supply a necessary element of plot development in a turning point, plot twist, or character arc.

Inventions, medical breakthroughs, or your secret fantasy machine to take care of a daily chore--mine is a cap that comes out of the shower ceiling to wash and dry my hair--can all change the fabric of society.  Research can change the culture; consider the social non-acceptability of smoking nowadays because of health research.  You can get creative with new machinery, technology or research whether your story takes place in the past, present or future.

If you're a science fiction fan and haven't read C.J. Cherryh's Downbelow Station, I highly recommend it as a study in building a world and showing the society that grew out of that culture.  You prefer historical?  Say, the Crusades?   How about Jack Whyte's Knights of the Black and White.  He shows us the secrets of the beginnings of the Templars n the simple daily life of the small band of knights.

Rule #4: Change  no more than three things in the culture.

Cultural differences promote many societal changes. Remember, there is a cause-effect relationship between a culture and how one operates within that culture.  If you don't believe me, consider our electronic culture and its growth in the past forty years.  Think that hasn't impacted society?  Can you say, "Don't text and drive"?

Unless you're working in a totally alien world, there will be humans in your book.  And humans are, well--human.  Highlight the differences in the culture of your world by showing the societal differences to our own.  And, remember that human behavior, given certain circumstances, is fairly predictable.  Don't make mankind into an unrecognizable animal.  Your reader won't connect with your characters.

Rule #5:  Through your character's growth, show how it's possible to improve your world.

Whether it's as small as your family or as large as your planet, what reader won't sigh at the end of a well-delivered story showing there is hope--and a better future-- for us all?  You may have blown up the Earth, but your characters  managed to thrive on a new colony world.  The protagonist may have initially been inept in a new setting, but after some setbacks learned how to cope on a different world.

Sometimes this means there will be a change in your society by the end of the book.  Even bigger and better, the culture will change.  It doesn't have to be huge, like there will never again be war or conflict, but it has to be real and important.  It has to be a signal that the world is about to become different.  Better.

And what a great way to position yourself for writing that sequel!

Do you have additional rules for building a world's social and cultural aspects?  Do you have questions or comments on these rules?  Is there something you'd like clarified?  I don't have answers, but I love a good discussion!  Thanks for reading.

ANNOUNCEMENT: Elizabeth Spann Craig, aka Riley Adams, is our Sensational Summer Friday guest blogger this week. Elizabeth is one of the most giving writers we've met on our journey and we are delighted to have her!

If you get a moment, feel free to visit her blog, Mystery Writing is Murder. Be sure to look at the Writer's Knowledge Base (WKB) while you're there.

Warning: If you click on the WKB, you'll get sucked into Writer Utopia for a few hours. Don't say we didn't warn you... :-)

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10 Not Absurd Lessons from Margie Lawson (and Her Peeps!)

By Jenny Hansen

Last Friday Margie Lawson did a guest blog at Writers In The Storm. If you missed it, please take a moment to catch up by clicking here.

As usual, Margie’s advice was spot-on and amazing. However, what surprised me about Friday’s post was the comment section.

I knew Margie had a big following, but I was not prepared for the superhighway of love flowing between her and her students – it was a two-way street full of warmth and generosity. Best of all, for little ol’ me who has never attended one of Margie’s classes, it gave me insight into the magic I’ve been hearing about from my critique partners, Laura Drake and Fae Rowen.

Below are my favorite tips from the comments section – some from Margie and some not. As always, I included the links where I had them so you can explore some of these authors yourself. I limited myself to TEN tips so your brain doesn’t explode from the lava flow of great writing advice!

From Margie:

You should ask these three Critical Keeper Questions [about each scene]:

1. Does it move the story forward?
2. Does it deepen character?
3. Does it carry a Humor Hit you’d kill to keep?

Margie:
Keep your book’s controlling premise posted where you can see it and will think about it with every scene! (Margie recommends you put it above each chapter header.)

FYI:  A Controlling Premise is an expanded log line. It’s a story summary that is usually three to five sentences long. It includes who, what, where, and why — and shares those dynamics in a way that makes the reader care.

Kristina McMorris:

Here’s a not-absurd tip that I try to live by: Use the opening line and closing line of every chapter to raise a question, and whenever it’s feasible, end each chapter with a power word.

Margie (in response to Kristina):

I’m a big POWER WORD advocate. I vote for Power Words ending as many sentences as possible. Two words that carry no power — are IT and THAT. I vote for nixing as many IT’s and THAT’s as possible.

Louisa Cornell:

I carry a stack of index cards in my pocket everywhere I go. You never know where inspiration or your quirky characters are going to strike next. I am always jotting things down on those cards. When I get home I may rewrite them, but I always tuck them into an index card file box. I keep a box for my current WIP and for other stories running around in my head. Sometimes I have pulled entire scenes and even entire chapters from those card boxes.

Mindy Blanchard (a different take on writing it down):
Number one tip: WRITE IT DOWN! (even seemingly crazed notions can be important at some point. We always think we’ll remember it later, but we WON’T.) Keep notebooks in your bathroom We are always working on a new story. In the car, in the grocery line, etc. I don’t know what I would do without my mini voice recorder in my car. Surely you would think I could remember that juicy tidbit that will make my story rock in the 15 minutes it takes me to get home…What were we talking about?

Anita K. Greene:

A tip I’ve received: Don’t consider your editing done until you’ve read your story aloud. This will reveal tongue twisters, cadence and the ‘word of the manuscript’ – the one word that seems to be the perfect choice over and over again.

Margie (in answer to Anita):

The ‘Word of the Manuscript.’ I like that term. I refer to it as the ‘catch word’ of the book. They’re caught in the writer’s mind — and keep getting tossed on the screen. I catch them – but many writers don’t. Some of the ones I’ve caught are — muttered, seethed, irascible, shuttered, washed over (as in grief washed over her, fear washed over her, regret washed over her . . . ) snubbed, penultimate, discounted, furor.

Lorrie Thomson:

My not absurd writing tip is that I always end a scene on a hook.

Thea Hutcheson:

I learned that you should have all five senses in every 1000 words. It is a way to make sure you have setting in your work and keep your critique partners from having to say, “Setting would be nice.”

Sherry Isaac:

Have you thought about connecting with Mattel, marketing a ‘Margie’ Barbie? They could load her with pre-set Margie-isms: ‘Cliche Alert!’ ‘Write Fresh!’ “Needs more pink!’ She could have EDITS rainbow hair! And a walking stick for those hikes on the mountain.

Rose McCauley:

My one tip would be to persevere. After almost ten years years of writing, my first novella releases this September. Thanks for all the help along the way, Margie.

Margie has started something new!

From now on, she’ll teach all her online courses in a cyber classroom from her web site (using Moodle). Visit Margie’s cyber Open House for Lawson Writer’s Academy, July 14, 15, and 16. You’ll have a dozen chances to win a Lecture Packet or an online class!

To refresh your memory, Margie’s most popular packets are:

  1. Empowering Characters’ Emotions
  2. Deep Editing:  The EDITS System, Rhetorical Devices, and More
  3. Writing Body Language and Dialogue Cues Like a Psychologist
  4. Powering Up Body Language in Real Life:

    Projecting a Professional Persona When Pitching and Presenting
  5. Defeat Self-Defeating Behaviors

For more information on Lawson Writer’s Academy, lecture packets, on-line courses, master classes, and the Immersion Master Class sessions offered in her Colorado mountain-top home, visit:  www.MargieLawson.com.

Note: While you’re at Margie’s site, be sure to check out her Deep Editing Analyses while you’re there. You’ll find over 25 short articles that analyze several examples from authors like Harlan Coben, Lisa Gardner, James Scott Bell, Lisa Unger and more!

So, do you have any more writing advice we need to know about? What helps you meet your writing goals? Are there any other special teachers like Margie that you recommend?

We LOVE hearing from you!

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Going To The Chapel Contest - Finalists Announced

We have five fantastic finalists for our Going To The Chapel Contest!

  • Kristen Boe
  • Donna Omo
  • Carrie Rogozinski
  • Charlie Wade
  • Kelly Whitley

Click here for more details....

We can't wait to hear which entry you like the best! What do you think? (Please post your choices on the actual contest page once you've followed the link :-))

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