Unlocking the Keys to Overcoming Writer’s Block

Writer’s block can be a daunting obstacle, but it doesn’t have to derail your creativity. In this article, I’ll share some tried-and-true techniques that will help you break through those mental roadblocks and get your writing flowing again.

1. Take a break: Sometimes, the best way to overcome writer’s block is by stepping away from your work for a little while. Go for a walk, listen to music, or simply take some time off. This will give your mind a chance to rest and recharge, allowing new ideas and inspiration to surface when you return to writing.

2. Change your environment: If working in the same location is becoming stale, try changing up your surroundings. Find a different spot in your home or office where you feel more comfortable and creative. Alternatively, consider writing outside, at a coffee shop, or even on vacation – sometimes new scenery can spark fresh perspectives.

3. Use prompts and exercises: There are many excellent resources available online that provide writing prompts and exercises designed to kickstart creativity. These can range from simple word association games to more complex storytelling challenges. By engaging in these activities, you may find yourself breaking free from the confines of your usual writing style and discovering new approaches.

4. Read widely: Reading is one of the best ways to stimulate creativity and inspire original ideas. Expose yourself to different genres, time periods, and perspectives – you never know when a particular author’s technique or character development might spark an idea for your own work.

5. Practice freewriting: Freewriting involves writing continuously for a set amount of time, without stopping to edit or correct mistakes. This practice can help break down mental blocks by getting the creative juices flowing and allowing you to explore ideas freely. Set a timer for 10 minutes and see what comes out!

6. Collaborate with others: Sharing your work with fellow writers or seeking feedback from a trusted friend or mentor can be incredibly helpful in overcoming writer’s block. Hearing different perspectives on your writing may inspire new directions, while receiving constructive criticism can help identify areas that need improvement.

7. Embrace imperfection: Remember that first drafts are meant to be rough. Allow yourself the freedom to explore ideas without worrying about perfection – after all, revisions and edits will come later. By loosening up and letting go of self-criticism, you may find it easier to overcome writer’s block and get your thoughts down on paper.

8. Use technology: There are numerous writing apps and software programs designed to assist writers in overcoming various challenges, including writer’s block. These tools often include features like word count trackers, goal-setting functions, and distraction-free writing modes that can help you stay focused and productive.

Remember, every writer experiences moments of uncertainty or frustration at some point. By employing these strategies and remaining patient with yourself, you’ll soon find your creativity flowing once again!

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Revelations and Tensions: Unveiling Captain Dumont’s Sci-Fi Odyssey

Having spent a lot of words on character development and world building, I want to take a short pivot to share some of my own work in progress that I feel illustrate some of the concepts I’ve written about. These will be from works in progress, so may still need some editing and polishing before they ever get published. Comments and feedback are welcome.

I watched the man on the monitor, reading in his lavishly furnished apartment.  Part of me was resentful.  The view from his couch could have been a master’s painting with its fiery orange and pinks behind the spires of the city with just a hint of blue on the horizon from the ocean.  Millions would kill for the view alone, but we had showered more than money on the home of the man I watched.  His apartment had only the best.  Modern appliances in stainless steel; clean white cabinets floating above the dark grey granite countertops; a genuine leather couch and matching chairs.  The program had literally spared no expense in ensuring his comfort.  

Of course, many would say he deserved such creature comforts.  Some would argue.  Personally, I was caught in the middle, but it did not hurt myself or the project to provide such opulence to the program’s heroes.  The fact that giving them apartments we owned and controlled did give us certain advantages, including this vid feed allowing unobtrusive observation by a phalanx of psychologist and behavioral experts.  If our six heroes had an observable difference from the others in the program, we had to learn what it was.

I was almost ready to ask what I was looking for when the man on the monitor stood and threw the reading tablet from him to smash against the sleek fireplace next to the doors to his private balcony.  The violence of his action was shockingly unexpected.

“What was he reading?”  I asked as the recording froze.  His face was tight, as if he struggled to control some feeling.  

Dr. Pamela Carmichael shook her head.  “An ancient sci-fi title.  He had two paper copies of it before the trip.”

“Relevance?”  I asked.  

“No direct ties, that we are aware of.  It’s a tale loosely based on a plot similar to Rudyard Kipling’s tale ‘Kim’.”

I nodded.  My implant provided a synopsis, just enough to refresh my memory of the story of the orphan boy coming into his own as an agent in the great game of intrigue.  

“So why the scrutiny this morning?  I do have other tasks needing my attention,” I added with the slightest hint of impatience in my voice.

“You asked to be notified of any aberrations in any of the crew’s behavior.  Based on his profile, this is a significant break in discipline for Dumont.  His background and training are all about control.  He has thousands of flight hours as command pilot and it has been drilled into him to always be in control.  Lashing out at something in a book is very peculiar.”

Part of me agreed, but my specialty was not in psychology.   “He’s a man of action and adventure.  How long has he been cooped up in his apartment?”

“Six days,” another lab-coated doctor said.  “On the inaugural mission, they spent thirty days in isolation.”

“We also had sixteen survivors then, and we were actively debriefing them.  This trip, they are more like lab rats than crew.  I think I would be frustrated.”

“We’ve counted on some level of frustration.  That’s why each of the six has been provided relaxation and comfort for the post-mission period.”

I snorted.  “They’re more bored here than they were on the ship.  Have we asked him why he threw the tablet?  Do we know what he was reading specifically?  Do we know anything other than this recording shows us?”

“No, sir, but it is a break in behavior.”

“Doctor, I have close to six trillion new dollars being spent in this quarter re-starting jump-ship production.  I have the leaders of the world clamoring for progress reports.  I must decide if our six heroes are going to drop over dead for no reason or if the next jump won’t see fifty percent of the crew dead like the last one did.  I want to know if our survivors have a change or difference that might explain what in the hell happened on the mission.  I don’t care if they get a little frustrated and throw a reader tablet.”

“It might be a sign,” the Dr. started.

“A sign would be something significant.  I need something significant or some confirmation that we won’t have something significant happen.  Adrien Dumont learning to fly would be significant.  Adrien Dumont growing a new appendage would be significant.  Throwing a reader is not.”

Before the doctor could marshal another argument, I paused and raised my hand.

“This last mission only had them inside the ship, correct?”

She nodded.

“The ship that had the same atmosphere and life support systems they lived in before departing the system, right?”

Again, she nodded.

“So, there is no physiological reason they should be in isolation?” 

“No.  It was part of the mission protocol we developed.  We did not assume all six would survive and wanted to build time in the schedule to observe for differences.  Frankly, we wanted to see some divergence in physiological readings.  This ‘normal’ response means we’ve learned nothing with this mission.”

“Not true,” I countered.

“We’ve learned that six of the sixteen survivors of the first mission appear to be immune to whatever killed the others.  We should expect to see differences between them and those less fortunate travelers.”

“Besides being not dead?” the doctor asked.  “We’ve run thousands of samples and comparison panels.  We don’t even have a working hypothesis yet.  Hell, we don’t even have any real hints on what to look at.”

“Then we need to expand the sample sizes.”

“The risk….”

“The risk is something the program office will assess.  We have the volunteers.  We know early seeding with the jump ships is the best bet we have for long term species survivability.  We need to try again.”

It was a decision we had been driving toward for the better part of a year.  It was also a decision that I could only provide a recommendation on, but I felt I had seen enough.  If we did not proceed with the risk to handfuls of individuals, we ran a real risk for all mankind. 

“In the meantime, let’s end this charade.  I imagine Captain Dumont is frustrated at the imposed idleness.  Let’s get the man back to work.”

Setting things up

This is the opening scene in a planned novel. Without giving too much of the overall story away, it is a science fiction tale that will be heavily character driven with multiple layers of conflict before it is all said and done. This opening scene is intended to introduce the main character, Captain Dumont, without giving a full peek inside his mind and thoughts. At the same time, it should set up hints of the world the characters live in. Does it do its job? What do you want to learn more about after reading this first thousand words?

Comments are open.

There are no wrong answers.

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World Building (pt 10) – Another Example

Let’s perform the same exercise again, using a different scene to illustrate how world building can be inserted into an opening for a story to quickly establish a foundation for a new world.

Opening Scene : Trading Technology

The skyline of New York City shimmered with neon lights as the sun set, casting an otherworldly glow over the sprawling metropolis. The bustle of activity on the streets below was drowned out by the roar of engines overhead, signaling the arrival of another cargo ship from Mars.

Aboard the vessel, Captain Reese watched through the viewport as their craft docked at one of the city’s many spaceports. He had been making this trip between Earth and Mars for years now, ferrying goods back and forth between the two worlds that were slowly recovering from decades of war.

The cargo hold was filled with crates labeled with various technologies: energy generators, medical equipment, and even advanced computing systems. Each item represented months of hard work and risk for their small team of traders. As Captain Reese prepared to disembark, he couldn’t help but feel a sense of pride in what they had accomplished.

But not everyone shared his sentiment. His first officer, Alexandra, stood beside him, her eyes fixed on the towering buildings that rose above them. “We risk our lives for this?” she muttered under her breath. “For these outdated Earth technologies?”

Captain Reese glanced at her, an eyebrow raised in surprise. “These aren’t just any technologies, Alex,” he replied firmly. “They’re lifelines for people who still rely on them.”

Alexandra turned away, shaking her head. “We could be doing so much more with our resources,” she argued. “With Mars’ superior technology, we could revolutionize life on Earth.”

Their conversation was cut short by the sound of a nearby argument breaking out between two merchants negotiating over the contents of their shipment. It was a common occurrence in this trade hub, where wealthy Earth businessmen vied for the latest Martian innovations while offering a fraction of their true value.

As Captain Reese made his way through the crowded spaceport, he couldn’t help but feel conflicted. On one hand, he understood Alexandra’s frustration with the limitations placed on them by Earth’s archaic systems. But on the other hand, he knew that change didn’t come easily or quickly – especially not in a world still recovering from war.

For now, they would continue to trade technology, hoping that each item brought some small measure of progress towards unity between their two worlds.

The Breakdown

Culture and History: The story takes place in a futuristic setting where Earth and Mars have been involved in decades-long war. Now they are slowly recovering from it, relying on trade to rebuild their economies.

Laws, Ethics, and Morality: There is clear tension between traders who value the importance of Earth’s outdated technologies versus those who want to utilize Mars’ superior technology for advancement. This conflict highlights a moral dilemma surrounding progress versus preservation.

Technology and Infrastructure: The story revolves around trading cargo ships carrying various technological goods between Earth and Mars, showcasing the differences in infrastructure and technological development between the two worlds.

Political Structures and Economies: Both Earth and Mars have their own political structures, economies, and power dynamics at play which influence the nature of trade and cooperation between them. The story explores these complexities as well as individual characters’ perspectives on them.

Landscapes and Geology: The opening scene takes place in a bustling spaceport city skyline, with references to the neon lights and busy streets below reflecting an urban landscape.

Cosmology and Mythology: No direct mention of cosmology or mythology is made in this scene, but it could be implied through the use of terms like “archaic systems” and “superior technology,” suggesting a belief system where some technologies are considered more advanced than others.

I hope these two simplistic examples of how world building can inform your scene setting and even plot conflicts have been helpful. There are a lot of tools that can be used to help catalog and track the details of your world. I’ll share an overview of a few of these in my next post. I encourage you to try the simple exercises outlined in the last two posts to craft an opening scene that hints at the care you’ve placed in crafting your story’s world.

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World Building (pt 9) – Pulling it Together

I’ve written a lot about building a world and probably scared a few readers off. It doesn’t have to be that difficult. The fun thing about building an imaginary world is that you get to decide how much detail is enough and share it through the narrative of the story. Let’s take a look at this with a simplified example. I’ll re-cap the elements of world building, then use a world to draft an opening scene for the story, then show how the world’s elements are shared in that opening scene.

Recap of key world building steps

The world we build is as important as the characters within it. To help you develop your location or scene for a story, here’s a simple exercise that will guide you through the process of creating believable cultures and histories, establishing laws, ethics, and morality, developing political structures and economies, building landscapes and geography, and constructing a cosmology and mythology.

Step 1: Create a Culture and History

Start by considering the culture of your setting. What values are important to its inhabitants? Are they spiritual or materialistic? Do they honor ancestors or gods? How did their society form and evolve? Write down five key aspects of their culture that will shape how people interact with each other and the world around them.

Step 2: Establish Laws, Ethics, and Morality

Next, think about the laws, ethics, and morality of your setting. What are the rules? Are there any taboos or customs that must be followed? How do people judge right from wrong? Write down three laws, five ethical principles, and three examples of moral dilemmas characters might face in this environment.

Step 3: Develop Political Structures and Economies

Now, consider the political structures and economies of your setting. Who holds power? Is it a monarchy, democracy, or something else entirely? How does wealth circulate within society? Write down the structure of the government and five economic factors that influence daily life in this world.

Step 4: Build Landscapes and Geography

It’s time to focus on the landscapes and geography of your setting. What kind of terrain do characters traverse? Are there mountains, deserts, forests, or something else entirely? How does the environment shape life in this world? Write down three distinct landscape features and explain how they impact daily living.

Step 5: Construct a Cosmology and Mythology

Finally, delve into the cosmology and mythology of your setting. What do people believe about the universe? Are there gods or other supernatural beings? How does this belief system influence their lives and decisions? Write down three core tenets of the cosmology and two popular myths told within this society.

Opening Scene: The Market Square

The bustling market square was alive with activity as merchants hawked their wares and people from all walks of life mingled. The aroma of freshly baked bread, roasting meats, and exotic spices wafted through the air, enticing passersby.

In one corner, a group of young boys played a lively game of dice while their mothers gossiped nearby. A pair of traveling musicians strummed melodies on their mandolins, drawing curious glances from passersby. Near the center of the square stood an old stone fountain, its water sparkling in the morning sunlight as people quenched their thirst or filled empty jugs.

But amidst this vibrant scene, tension simmered beneath the surface. A wealthy merchant glared at a rival vendor selling identical goods for cheaper prices. Across the square, two young men exchanged heated words over a disputed debt that threatened to turn violent at any moment. And lurking in the shadows, a cloaked figure watched it all unfold with keen interest – their eyes hidden by shadow, but their intentions clear as day.

The Breakdown

Culture and History: The market square reflects the bustling, communal nature of life in this setting where people from all walks of life come together. It also hints at a competitive spirit among merchants vying for customers’ attention.

Laws, Ethics, and Morality: The law appears to be lenient when it comes to business competition, allowing rival vendors to sell similar goods without interference. However, there are clear ethical lines being crossed as evidenced by the dispute over prices and debts. Moral dilemmas arise when characters must decide whether they will uphold these laws or take matters into their own hands.

Political Structures and Economies: The market square serves as an example of a decentralized system where individual merchants control their own businesses without interference from central authorities. Wealth circulates through bartering and purchasing goods, indicating that this economy is based on trade rather than currency.

Landscapes and Geography: The location of the market square within an urban environment suggests that cities are important centers of commerce and culture in this world. The presence of fountains also hints at a well-developed infrastructure for water supply and sanitation.

Cosmology and Mythology: The existence of old stone fountains implies a long history within this setting, suggesting an ancient civilization with advanced engineering capabilities. However, no specific myths or belief systems are mentioned in the opening scene; these will likely become more apparent as the story unfolds.

Hopefully, this simple example illustrates how to quickly use a world to add narrative elements to your scenes. Try following this exercise on your own and see what you come up with. Good luck writing!

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World Building (pt 8) – Brick by Brick


Incorporating technology and infrastructure into your world building is essential for creating a rich, immersive, and believable fantasy setting. By examining how these elements function within a society, you can add depth, complexity, and intrigue to your story.

  1. Establishing the Infrastructure:
    The first step in incorporating technology and infrastructure into world building is setting up the foundational systems that support a society. Consider factors such as transportation networks (e.g., roads, waterways, or air travel), communication methods (telegraphs, messenger birds, or magical spells), and energy sources (wind, water, magic, or a mix).

For example: In Brandon Sanderson’s Mistborn series, the infrastructure includes the vast rail system called the Final Empire Railway, which connects cities and allows for efficient transportation of resources.

  1. Introducing Advanced Technology:
    To make your world building stand out, introduce advanced technology that pushes the boundaries of what’s possible within your story. This can include inventions like steam-powered machines or enchanted artifacts with unique capabilities. Consider how this technology fits into your society and its implications on daily life.

For example: In Scott Westerfeld’s Leviathan series, steampunk technology is used to create incredible airships and advanced weaponry that change the dynamics of warfare.

  1. Balancing Technology with Magic (if applicable):
    If your world includes both technology and magic, strike a balance between these two elements to maintain consistency within your story. Consider how they might interact, such as one enhancing or hindering the other, and ensure that their use remains logical within the rules you’ve established for each.

For example: In Naomi Novik’s Temeraire series, dragons serve as both technological advancements (as living machines of war) and magical beings with their own abilities, requiring characters to navigate the complexities of both realms.

  1. Exploring Societal Impact of Technology:
    Technology and infrastructure can have profound effects on a society’s culture, politics, and economy. Consider how these elements shape character motivations and societal structures, and explore the implications of technological progress in your world.

For example: In Neal Stephenson’s Anathem, the rigid structure of society is influenced by the isolationist monks who have dedicated their lives to studying the fundamental laws of nature, with technology playing a crucial role in both their research and societal interactions.

  1. Creating a Living World:
    By incorporating technology and infrastructure into your world building, you create a living, breathing setting that readers can engage with on multiple levels. These elements offer opportunities for rich storytelling, character development, and world exploration.

For example: In China Mieville’s Perdido Street Station, the intricate interplay of biotech and mechanical inventions forms a backdrop to the novel’s complex plot, exploring themes of identity, morality, and societal change.


Incorporating technology and infrastructure into your world building adds depth, complexity, and immersion to your fantasy setting. By examining how these elements function within a society and exploring their implications on culture, politics, and daily life, you create engaging stories that captivate readers’ imaginations.

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World Building (pt 7) – It’s Magic!

In this post, we’ll explore strategies for crafting magical systems and fantastical elements that captivate readers and elevate your world building in the realm of fantasy writing.

  1. Defining the Rules of Magic:
    A well-defined magical system establishes clear guidelines for how magic functions within your world. This includes determining its source (e.g., divine intervention, natural forces, or an inherent ability), setting limitations on who can wield it, and establishing costs or consequences for using it. These rules provide a solid foundation for your magical system and help maintain consistency throughout your story. For example, in J.K. Rowling’s Harry Potter series, magic has a well-defined system with clear rules. It comes from an inherent ability within each person, with some possessing greater potential than others. Magic can be used for various purposes but comes with costs, such as exhaustion or the risk of attracting Dark forces.
  2. Designing Magical Creatures:
    Magical creatures add depth and intrigue to your worldbuilding. Consider their origins, appearance, abilities, weaknesses, motivations, and how they fit within the established rules of your magical system. Unique creature designs can serve as symbols of power, mystery, or danger, and offer opportunities for character development and engaging storylines. In Nickelodeon’s Avatar: The Last Airbender, magical creatures add depth and intrigue to the world. The Draugr are an example of a unique creature design with origins steeped in Norse mythology. They possess both magical abilities (e.g., raising the dead) and weaknesses (vulnerability to fire), making them formidable adversaries and engaging story elements.
  3. Developing Spells and Magic Items:
    Spells and magic items provide tools for characters to advance the plot or overcome obstacles. Create rich and varied inventories of spells, each with unique properties and limitations, and magic items imbued with magical power that can be used in various ways. Consider their origins, effects, and any potential consequences or repercussions for using them. In J.R.R. Tolkien’s The Lord of the Rings, spells and magic items serve as tools for characters to advance the plot or overcome obstacles. Gandalf’s staff is an example of a powerful magical item that can be used in various ways, from casting protective spells to summoning eagles for transportation. The Rings of Power are crucial to the overall plot as well, providing abilities and risks that drive the story forward.
  4. Balancing Magical Power:
    To maintain tension and conflict within your story, ensure there is a balance between magical power and its consequences. Introduce antagonistic forces that wield magic, limit access to powerful spells or items, or create moral dilemmas surrounding the use of magic. These elements add depth and complexity to your world building while pushing characters to confront ethical questions and challenges. In Robert Jordan’s The Wheel of Time series, magic is balanced by introducing antagonistic forces that wield it. The Dark One and his followers represent the ultimate threat to magical power, driving characters to confront their limitations and make difficult choices.
  5. Introducing Mysteries and Secrets:
    Magical systems are ripe for weaving mysteries and secrets that captivate readers and keep them invested in the story. Incorporate enigmatic elements into your magical lore, gradually revealing these secrets over time to characters and readers. These hidden truths can serve as catalysts for character development, plot progression, and reader engagement. In Philip Pullman’s His Dark Materials series, enigmatic elements are woven into the magical lore, gradually revealed over time to both characters and readers. The nature of Dust and its connection to human souls serves as a captivating mystery that drives much of the plot and character development.
  6. Establishing Consequences of Magic:
    Ensuring there are consequences for using magic adds depth and realism to your magical system. Consequences can take the form of moral dilemmas, physical repercussions (e.g., draining the user’s energy or causing long-term damage), or societal consequences that impact how magic is perceived and used within your world. These elements add tension and complexity to your story while pushing characters to confront their limitations and make difficult choices. In Patrick Rothfuss’s The Name of the Wind, there are consequences for using magic, such as physical repercussions or societal implications. Kvothe, the protagonist, must confront the long-term effects of his magical actions and make difficult choices to protect himself and those he cares about.
  7. Creating a Magical Cosmos:
    Consider how your magical system fits within the larger cosmic landscape of your world. Are there celestial bodies or otherworldly beings that influence magic? How does this impact the way magic is used and understood by characters? Developing a magical cosmos adds a sense of grandeur and depth to your worldbuilding, offering opportunities for exploring the interconnectedness of various elements within your magical system. In Terry Pratchett’s Discworld series, magic fits within the larger cosmic landscape of the world through celestial bodies and otherworldly beings. The Luggage, an animated sentient chest that accompanies Rincewind, offers a humorous example of a magical cosmos element.
  8. Balancing Realism and Fantasy:
    Striking a balance between realism and fantasy when crafting magical systems allows you to create imaginative and captivating worlds while maintaining reader immersion. Ensure that fantastical elements fit logically within the established rules of your world, and consider how they might be explained through in-world lore or mythology. This balance creates a rich and engaging setting where magic feels both otherworldly and believable. In Neil Gaiman and Terry Pratchett’s Good Omens, striking a balance between realism and fantasy creates an imaginative and captivating setting. The novel explores the relationship between an angel and a demon who are tasked with preventing Armageddon but must navigate the complexities of human society. By blending fantastical elements with real-world challenges, the story maintains reader immersion while offering engaging and thought-provoking themes.

Masterfully crafted magical systems and fantastical elements elevate your world building in the realm of fantasy writing. By establishing clear rules, intriguing creatures, and engaging spells and items, you create a captivating and immersive setting that resonates with readers.

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World Building (pt 6) – Landscapes & Geography

Landscapes and geography are essential building blocks in the creation of a believable and captivating fictional world. In this post, we will explore strategies for crafting diverse, intriguing, and immersive landscapes and geographical features that form the backdrop for your stories and settings.

  1. Identifying Key Geographic Features:
    Consider the major topographical elements that define your world’s landscapes, such as mountains, deserts, rivers, forests, or coastlines. These features can influence the climate, vegetation, animal life, and human settlement patterns within your story. Understanding these natural aspects will help you create a geographically consistent and believable world. Many authors like to start with a map. Orson Scott Card has written how an interesting piece of handmade paper inspired in to sketch a map, which in turn gave him an idea for a story due to an accidental flaw in the paper which created a unique feature (bonus points if you can comment on what this story was).
  2. Designing Biomes:
    Biomes refer to distinct ecological communities characterized by specific climate patterns and vegetation types. Examples include tropical rainforests, temperate forests, deserts, grasslands, and tundra. Each biome comes with its unique challenges and opportunities for character development, plot progression, and world building. Unique biomes can become drivers for story as well. Alan Dean Foster created several unique biomes for his stories that became challenges for his characters, and in some cases characters themselves. His Icerigger trilogy is one example, as are Midworld, and Cachalot.
  3. Creating Terrain Variety:
    Provide terrain variety within your landscapes to keep readers engaged and offer diverse settings for your characters. This might include combining elements such as mountains, forests, and rivers, or introducing unusual features like volcanic formations, caverns, or underwater settlements. One thing to consider is how the terrain will affect the political, economic, and mythological elements of your world.
  4. Considering the Impact of Geography on Human Settlement:
    Geographic features can significantly influence human settlement patterns and societal development. For instance, mountainous regions might lead to the creation of fortified cities, while coastal areas may foster maritime cultures and trading hubs. Understanding these influences will help you create more authentic and believable settings for your stories.
  5. Developing Geographical Conflicts:
    Geographical features can also be sources of conflict within your world. Consider how disputes over valuable resources, territory, or strategic locations might shape political dynamics and fuel conflicts between characters and factions. Here too, the intersection of geography and economics can help create interesting story lines.
  6. Building Landmarks and Iconic Features:
    Landmarks and iconic geographical features provide unique visual landmarks that help readers connect with the settings in your stories. These elements can serve as symbols of power, mystery, or adventure and add depth to your world building.
  7. Considering Environmental Challenges:
    Geographic challenges like extreme weather conditions, natural disasters, or hazardous terrain can create intriguing storylines and push characters to overcome adversity. These elements add tension and complexity to your world building, making it more engaging for readers.

Incorporating well-designed landscapes and geographical features into your world building process adds depth and richness to your stories. By understanding the impact of these natural elements on human settlements, conflicts, and societal development, you create a captivating and believable setting that resonates with readers.

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Something Extra

I’ve been remiss in writing my blog content recently, so decided to post an excerpt from a work in progress. You may recognize one of the characters from my series on character development. Enjoy.

A palpable stench assaulted Elara’s senses, a noxious blend of decay and filth. The pungent tang of rotting food mingled with the rank aroma of spoiled garbage, its sickly sweetness clinging to her nostrils and forcing her to wake, gagging. Decomposing organic matter gave way to a sharper, more pungent smell – the unmistakable stink of putrefying meat and fish. The sour, acrid odor of urine added another layer to the cacophony, a reminder that this was a place where nature fought a constant battle against decay and filth. It was a smell that spoke of neglect, disarray, and the unyielding passage of time.

Elara groaned, and forced her eyes open, afraid to see what foul place she had been thrown into now.

“Goddess, help me,” she pleaded softly as she spotted the barest hint of moonlight edging its way into the filthy alleyway she awoke in. Garbage was obvious in the large metal bins pushed against one wall. Dirty rainwater, she hoped it was water, puddled the rough street and she heard strange sounds from the distant opening. A few lights shown through the mouth of the narrow passage.

She took hold of herself, realizing she was still naked except for the silver anklets with their tiny jewels and moonstones. She reached out with her mind, seeking the cool comforting connection to the powers her goddess had granted. The barest trickle of power would clothe her. It was one of the fist lessons an acolyte learned, weaving the moon beams into clothes.

For the first time since learning the weave, her goddess’ power eluded her. The loss of her connection hit her as hard as the wizard’s fist had. She struggled to sit up and hugged her knees to her tightly. Where was her patron? Why had the connection been lost? How?

Alone. She could sense none of her sisters in the order. She could not feel Mother Nightbloom, the only woman she had granted the appellation of mother. She had always had someone of the order on the periphery of her awareness. Even in the dungeon of obsidian, she could feel a tenuous connection to the women of the temple in the Enchanted Forest. Of course, there it had been nearly overwhelmed by the emotions of the other prisoners. Now, it was simply absent. The magnitude of her loss sent a shiver through her soul, and she felt unbidden tears touch her face.

Alone. Not only were her friends and sisters gone, but her goddess was also as well. The usual sense of comfort and reassurance was absent.

She sucked in a deep breath of the putrid air, wishing for some hint of home, only to remind herself of the many lessons from her training.

“Have pity for others, but it has no place for your own actions,” Mother Nightbloom had instructed. “Do not waste time pitying your circumstances, do something about them!”

She focused inward, seeking the place where she felt the peace of the goddess. This too, she had been deeply trained in. Her years as an initiate had prepared her mind and body for the trials of being an acolyte. Her years as an acolyte had honed powers that mere mortals could only imagine. She had reached the final trials to be anointed a priestess five years earlier than most expected to achieve that rank. She would not be deterred.

She reached out once more, focusing on the memory of the power granted to her. She resisted the urge to strain for it, opening herself and waiting until she felt the lightest of touches on her awareness. The power was there, but faint like an echo in her mind. Regardless, she willed that trickle to manifest. She felt the soft caress of cloth on her skin and opened her eyes.

It was not the full gown of a priestess as she had envisioned, but a short dress of blues and greens. At least it covered her nakedness. She felt drained from the effort but forced herself to stand and move away from the stench of the container hiding her from the main street. A crate of some strange material was a few steps further down the alley. She sat, exhausted, but determined to try once more to weave the moonbeams.

Before she could reach the meditative state of calm again, a new sensation intruded upon her. A longing, not for the goddess, but for a man. She relaxed her mind, trying to fathom who the man was. It was not the magician who had raped her before casting her out, that much she was certain of. She shuddered at the thought of the evil man’s touch even as she realized she could feel his seed leaking from within her. She needed a bath.

No, the man she sought was not a magician, but someone of power from this world. She knew she needed to find him. A man of power, but she could think of no name, no face, no way of identifying him. She only felt the need to search and find.

A geas! That evil bastard was using her to find someone, she realized.

She knew of spells to impose a geas. Only the highest priestesses were allowed to use them, but she knew the signs. The flames of her anger were blown brighter. Her goddess had truly forsaken her if she could not fight this compulsion on her mind. While she wanted to resist the pity welling up in her throat, her loss was all consuming. For the first time since being raised as an acolyte, she cried with the nearly silent sobs from her childhood.

Alone and abandoned again.

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Challenge and Response

In my last post, I challenged you to complete an exercise focused just on the economic aspects that may not even have direct impact on a story. I asked you to:

  1. Pick a favorite story or novel.
  2. List how one group of people in the story make a living.
  3. Use the five why’s to explore why the live that way.
  4. Pick one of the answers to those five why’s and decide how it influences the political structure of the culture the group lives in.
  5. If the story has characters opposing that political structure, explain why they oppose it; if the story does not have such a group, create one.

Here are my answers to the exercise:

  1. I chose J.R.R. Tolkien’s “The Hobbit” and “Lord of the Rings” novels.
  2. Hobbits are the natural group to use for this exercise, since the main characters of the novels are hobbits. Hobbits are portrayed as simple, peaceful, agrarian people who value their quiet and unassuming way of life. They primarily earn a living through farming, fishing, hunting, and animal husbandry on their family estates or small homesteads in the Shire. Going a little deeper, here are some ways Hobbits make money, based on the descriptions in the novels:
    • Farming: Most Hobbits own and work on their lands, which they inherit from their families. They cultivate various crops such as corn, wheat, vegetables, and fruit trees. They also raise livestock like pigs, chickens, goats, and horses for meat and dairy products.
    • Trading: Some Hobbits may engage in trading with their neighbors or merchants from other regions. They sell their surplus produce, livestock, and crafts to earn Tollans (Silver coins) or other forms of currency. For example, Bilbo Baggins sells some of the treasures he acquired during his adventure to Gandalf for a handsome sum.
    • Crafting: Hobbits are known for their skill in various crafts like woodworking, blacksmithing, basket weaving, beekeeping, and cooking. Some may sell their creations to other Hobbits or travelers passing through the Shire.
    • Wages: A few Hobbits work as laborers or servants for wealthier landowners or hobbit-businesses, receiving wages in return. For example, Samwise Gamgee works as a gardener and later as a cook for Frodo Baggins.
    • Adventure/Quests: Occasionally, some Hobbits embark on adventures or quests that lead them to discover hidden treasures or acquire valuable items which they can sell or use to improve their lives. Bilbo’s journey in “The Hobbit” and Frodo’s mission in “The Lord of the Rings” are examples of this.
    • Gifts: Hobbits also value gifts and hospitality, and may occasionally receive them during celebrations, festivities or as a sign of friendship. These gifts could be food, clothes, or other useful items that can help Hobbits make ends meet.
  3. Using the Five Why’s:
    • Why do Hobbits live this way? Love for the land: Hobbits have an innate connection to the earth and consider it a source of nourishment, happiness, and inspiration. They take pride in working their own lands, cultivating crops, raising livestock, and enjoying the fruits of their labor. This strong bond with nature is what drives them to be farmers, craftsmen, and artisans.
    • Why do Hobbits employ crafting and trading as part of their economy?
      • Self-sufficiency and barter system: A significant portion of Hobbit society is involved in agriculture and livestock rearing, which leaves many individuals with surplus produce or crafted items that can be traded for other necessities or luxuries. This self-sufficient lifestyle relies on a local barter economy where goods and services are exchanged directly between producers and consumers, without the need for a standardized currency.
      • Economic necessity: Crafting allows Hobbits to produce essential items they may not be able to obtain through agriculture alone. For example, they make tools, clothing, furniture, and various other items needed for everyday life. Trading provides them with the means to acquire goods or services that cannot be produced locally, such as textiles, metals, and rare resources.
      • Social connections: Crafting and trading provide opportunities for Hobbits to engage with their neighbors, develop friendships, and build a network of mutually beneficial relationships. These social connections strengthen community bonds and contribute to the overall well-being of the Shire’s economy.
    • Why does self-sufficiency matter to them? By being self-sufficient, Hobbits minimize their reliance on external sources for essential goods and services. This independence provides them with greater stability and security, allowing them to weather economic instability, natural disasters, or other external threats more effectively.
    • Why do they seek security from external threats? The Hobbits’ preference for a quiet, peaceful existence often leads them to fear the unknown. External threats represent the uncertainty and instability that they seek to avoid in their lives. By securing themselves against these threats, they can maintain their sense of stability and security and reduce the anxiety that comes with living in an unpredictable world.
    • Why do Hobbits fear the unknown? The Hobbits’ history is marked by invasions, conflicts, and external pressures that forced them to adapt and form strong communal bonds for protection. These experiences instilled in them a deep sense of vulnerability to the unknown and the importance of maintaining a secure and stable existence.
  4. Pick one of the answers to those five why’s and decide how it influences the political structure of the culture the group lives in. I chose to look at how the fear of the unknown and their economy drove their political structure and interactions with the broader world.
    • Decentralized decision-making: The fear of external threats and the unknown led Hobbits to prioritize local control and decentralize decision-making. Each community or “shire” was responsible for managing its own affairs, which helped maintain stability by allowing them to address their specific concerns and adapt to changing circumstances without interference from a centralized authority.
    • Communal work: The Hobbits’ preference for self-sufficiency and mutual cooperation gave rise to a strong communal work ethic. This mindset was reflected in their political structure through the organization of various guilds, societies, and associations that facilitated collaborative efforts and shared resources among neighbors and colleagues.
    • Economic interdependence: The interconnected nature of Hobbit economic activities, such as crafting, trading, and agriculture, fostered a sense of mutual reliance and cooperation within their communities. This interdependence helped strengthen the social bonds between Hobbits, creating a strong foundation for the communal spirit that underpinned their political structure.
    • Adaptability: The adaptive capacity of the Hobbits allowed them to respond effectively to changing circumstances or external threats by forming alliances, adopting new practices, and implementing innovative solutions. This resilience was essential in maintaining the stability of their society and enabling them to weather various challenges throughout history.
    • Sub-leaders: As each community assumed responsibility for managing its own affairs, they appointed sub-leaders or “ruling families” to oversee local issues and facilitate cooperation among members. These sub-leaders were elected based on their wisdom, experience, and leadership abilities, ensuring a democratic and representative system of governance that responded to the specific needs of each community.
      • The Longbottoms: A notable exception to the decentralized political structure was the role of the Longbottom family, who served as the “High King” or monarch of the Shire. Their position was more ceremonial than practical, representing the unity and continuity of Hobbit society rather than exercising significant political power.
    • The Shire-Reeve: Although the political structure of the Shire was primarily decentralized, there existed a small centralized authority in the form of the Shire-reeve (or Sheriff). This officer, appointed by the High King, was responsible for maintaining law and order, collecting taxes, and managing external relationships on behalf of the entire Shire.
    • Resistance to change: The Hobbits’ fear of the unknown and their preference for stability led them to resist external influences and changes that threatened their traditional way of life. Their political structure was designed to preserve their unique cultural identity while allowing for adaptability in response to changing circumstances.
  5. If the story has characters opposing that political structure, explain why they oppose it. There are multiple opposing views to the political structure in the Shire within the “Lord of the Rings” books, but it is not obvious what the counterpoint is in “The Hobbit”. For the sake of the exercise, let’s look at the Dwarves that Bilbo signs on with for his adventure. They are not in opposition to the Hobbits, but the contrasts between their cultures can create many opportunities for conflict and stories.
    • Centralized Authority: In contrast to the decentralized political structure of the Shire and Hobbits, the Dwarves are governed by a strong centralized monarchy led by a King under the Mountain (Thrain II, Thorin Oakenshield, or Thror). This king holds ultimate authority over all matters concerning the Dwarven realms.
    • Monarch-led Militaries: The Dwarven political structure includes a well-organized military force, which is led directly by the monarch and serves as the primary means of maintaining order, defending their kingdoms from external threats, and enforcing laws.
    • Clan-based Society: Dwarven society consists of numerous clans, each with its unique history, traditions, and distinct cultural identity. These clans function as smaller units within the larger Dwarven political structure, providing a sense of community, unity, and shared heritage among their members.
    • Mining and Metallurgy: The centralization of Dwarven political power is closely linked to their economic focus on mining and metallurgy. The extraction and processing of precious metals and minerals form the backbone of their economy, making control over these resources a crucial aspect of their political structure.
    • Historical Context: The Dwarves’ history of being driven from their ancient homeland in Khazad-dûm by the Balrog and subsequent struggles against various enemies like Smaug, the dragon, have shaped their society into a highly centralized and militaristic culture, emphasizing unity, discipline, and order.
    • Strong Community Ties: Despite their centralized political structure, Dwarves still maintain strong ties to their clans and communities. These ties provide them with emotional support, a sense of belonging, and the foundation for their unique cultural identity.
    • Meritocracy: The Dwarven political structure incorporates meritocracy through the concept of “Erebor’s Everlasting,” where the most capable individual is chosen to rule as king or leader, ensuring that those with the necessary skills and abilities are entrusted with governing roles.
    • Fear of Treachery: The Dwarves have a deep-seated fear of treachery due to their history of being betrayed by their enemies, such as Smaug and the Elves. This fear contributes to their emphasis on maintaining a strong centralized authority to protect against internal threats and preserve unity within their society.
    • Adaptation: While the Dwarven political structure is highly centralized and focused on maintaining order and stability, it also shows adaptability in response to changing circumstances, such as during the rule of Thorin Oakenshield and the events leading up to the Battle of Five Armies.
    • Reclusive Nature: The Dwarves’ reclusive nature and preference for living underground contributes to their unique political structure, which is centered on strong central leadership and a focus on preserving their communities and resources from external threats.
    • In comparison to the Shire and Hobbits, whose political structure emphasizes decentralization, community involvement, and mutual cooperation, the Dwarves’ political structure reflects a more authoritarian, centralized approach driven by their historical contexts, cultural values, and economic focus on mining and metallurgy.

One last step

Using this approach of looking at the economic and political structures from a favorite book, what are the story opportunities that spring to mind? Using my example, both Dwarves and Hobbits have strong community ties and an adaptive approach to things. Is this worthy of exploring? Does the centralized authority of the Dwarves monarchy create a potential plot conflict with Hobbits? While the books are already written on this tale, this simple thought exercise can help get your creative juices flowing for your own world and story.

Comments are open, so share your thoughts on either my example or your own!

Next up, looking at the geography of your world.

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