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Thoughts on Writing- Developing a Fictional Language

A while back, I wrote a post about creating a fantasy language. Today, as I’m continuing to plot for The Wishing Blade series, I want to expand on that idea. What things should we consider when developing a fictional language?

I’d say part of that depends on the purpose of the language. If you’re only going to have it show in one or two scenes, a word here or there, you might only need to create those few words and consider how it sounds regarding the culture of the people who use it.

If, on the other hand, you plan to write whole paragraphs in it, have miscommunication issues (or spells that backfire–as with the Cantingen word magic in The Wishing Blade series), or use it explain part of the culture or mythology, you might want to go a little more in detail in regards to how the language functions, even if your reader never sees most of it.

I’ve been skimming through articles, trying to get an idea of things to keep an eye out for, and this article in particular has some great suggestions as to what sort of things to keep in mind when creating a language. Things such as the range of sounds your language has, how words are stressed, and how to change words from present to past tense.

I already know that I’m not going to have a perfect fictional language and there are going to be imperfections. But, having a set of rules that are relatively easy to follow, as well as a dictionary of sorts, should help to alleviate that problem.

Starting out, I took all the phrases I’d already written for the first book and broke them apart, figuring out what each word was and entering that into an Excel file. (As a side note, I just discovered that it will sometimes enter suffixes for you if you have the same word ending row after row in the same column–conjugation got faster!) Then I considered common words that I might run into: colors, directions, verbs, nouns, elements…

Once I had a general list, I started double checking to make sure none of them had the exact same sound (since word magic is based on pronunciation), and that words that have the same sounds have the same spelling, so I could picture it correctly.

For example, I wrote out the cardinal direction and created versions for both Cantingen and Cirenan words:

English || {Cantingen} || Cirenan
North || {Chudé} || Chud
East || {Nuré} || Nur
South || {Sidé} || Sid
West || {Dre} || Dreh
Dimension || {Dribé} ||
Southwest || {Sidé si dre} || Sid-Dreh

(Note: ‘si’ is the equivalent of ‘and’)

Since word magic has a concept of there being different realms and dimensions, I also included that word in the Cantingen language regarding directions (though I’m still working out the details), but did not include it in Cirenan. You can see how the two languages are related, obviously having branched off from one or the other.

I’m still working on grammatical rules, but I’ve figured out thus far that verbs will primarily be regular conjugations (thus making it easier to read because the endings for a verb will always be the same.

Subject {-suffix} || Conjugated Verb (dacin – to destroy)

I {-a} ||  dacina (I destroy)

You (Person) {-at} || dacinat (You destroy)

You (Imperative//Magic) {-an} ||dacinan (Magic destroys) (Note: This is the form often used when a word mage is commanding magic to do something)

He {-on} || dacinon (He destroys)

She {-ol} || dacinol (She destroys)

They {-eht} || dacineht (They destroy)

It {-tra} || dacintra (It destroys)

(Note: Word mages probably wouldn’t use this particular verb in their spells because it’s too vague.)

I’ve been debating adding additional suffixes for goddess and god, essentially a “formal” version of he/she and they. Haven’t yet decided on that, though.

Originally, when I started creating the Cantingen language, I planned on them having a very specific set of words, and no more than those words. The idea was that they would sometimes have to create convoluted phrases to mean something very simple.

Problem is… that’s really convoluted. (And something I may be fixing in the current draft of The Shadow War.

For example, let’s look at this phrase as it currently stands:

Be la niitan musieh shodo li dohlé’jute trorlat si fora lel sarana si tasse lel urell duhan so mitora en eh chi rov’wida so nocho Pellmer chono la be.

Simply put, it’s a portal spell to the grassy plains of Pellmer.

The spell itself isn’t that simple.

Here’s a part of the English translation, with asterisks denoting breaks between words:

(Open)*Create*all and any*transfer-passage*as window-door*12 feet high and six feet wide* direct-front*of my seeing*to*any-safe*grass-field*of*Pellmer*(Close)

That’s… not easy to read at all.

Okay, let’s break that down even further.

The open (Be la) and close (la be) statements signify the start and end of a spell. Required for word magic to work properly.

niit is the word for “to create,” with niitan being the imperative telling magic to create something.

musieh – all and any (mu si eh) – English equivalent to “everything”

shodo – passage

li – in the form of (as a)

dohlé’jute –  dohlé (window),  the apostrophe symbolizes “of” or possession, jute (door) –

trorlat si fora  – ten and two (12)

lel sarana– (lel) measurement akin to feet, sarana (referring to height)

si – and

tasse – six

lel urell – (lel) measurement akin to feet, urell (referring to width)

…And so forth. I think I may want to break it down just a bit more and make it easier to work with. I mean, those poor word mages have it bad enough just trying to pronounce it right.

Eventually, I’d like to go through the language sometime with IPA (International Phonetic Alphabet) and mark all the sounds to keep it consistent, plus design a script that the Cantingen word mages use based on the common sounds.

For now, I’ve got various conjugations created, and I’m trying to work from there. To fully flesh out the language, I’m considering trying to translate English phrases so that I can create words I might not otherwise consider.

For example, I spent about an hour or so taking a passage from The Shadow War, translating that intro a structure the Cantingen language would use, and then translating that into the Cantingen language (after double-checking my glossary and coming up with new words.

This is what I came up with:

Original Passage (English):

Siklana kept reading. “Listhant gave Diandae permission to open a portal into ‘the Old Realm,’ where Ruetravahn retrieved his words of power.” She paused. “This could mean that word magic isn’t really a split from Old Cirenan, but something altogether different.”

Passage rewritten to match style of Cantingen language (Still in English):

Siklana continued to read. “Listhant permitted Diandae to create a portal to the Old Realm. In the Old Realm, Ruetravahn retrieved the Words-of-Power.” Siklana stopped reading. “This scroll I am reading uncertainly explains that the Words-of-Power are something inherently different from the Old Cirenan language.

Passage in Cantingen language:

Siklana ahaolsho shi. “Listhant mocon Diandae niitol Dribékre. Da Dribékre, Ruetravahn glaton Shadi.” Siklana shiylagsho. Keh mishia uuhtrafo Shadilakosha clisé Quisrena’Casikre.

Now, the fun part of this was trying to read the passage aloud, based on the rules of pronunciation I’ve come up with. Each vowel is pronounced separately, with the exception of two vowels which are the same. For example, ‘aa’ is held longer than ‘a’ by itself or next to another vowel (or maybe it’s inflected more… I need to do more studying of phrases regarding language construction). Many of the consonants sound “harder.”

Needless to say, my reading didn’t go smoothly. Could be because I haven’t practiced it, or could be due to my current pronunciation rules. I’m considering adding in more letters and vowels that are smoother when I add additional words, as I originally pictured it being a much more flowing language, which would have made it easier for word mages to perform spells. Right now, there are a lot more stops and starts and broken sounds.

Once I work out a bit more of the language, I’ll probably go back through the second book and make sure that the phrases there still make sense. I’ve already been going back and correcting a few of the mistakes I’ve seen.

I hope you enjoyed this post. 🙂 Have you ever tried creating your own language for a story you wrote?

 

Related Reading :

http://www.councilofelrond.com/subject/how-to-create-your-own-language/ – An article with a lot of useful things to consider when creating a language

https://www.facebook.com/groups/Linguistics.and.conlangs/ – Facebook group that discusses conlangs

http://www.wired.com/2015/09/conlang-book/ – Article talking about the creation of Game of Throne’s “Dothraki” language

http://www.stormthecastle.com/mainpages/for_writers/using-invented-language-in-your-novel.htm – Ideas to make it easier on your readers if you use a conlang

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Thoughts on Writing – Multiple Character Motivations in One Scene

Though I’ve primarily been focusing on getting the paperback edition ready for Magic’s Stealing (I ordered the proof copy today!) and making edits to The Multiverse Chronicles, I’ve still been thinking about the plot for The Shadow War. My goal is to iron out as many inconsistencies as possible before I get into the heavy writing/editing phase.

Today I’m going to look to look at a scene from The Shadow War and focus on how knowing the multiple character motivations in that scene can help improve the logic of what’s going on.

Warning: There are spoilers in this post regarding events in Magic’s Stealing, along with certain character motivations and the first major event of The Shadow War.

In other words, if you don’t want spoilers, you might want to pick up a copy of Magic’s Stealing before reading this post, then come back to read this post. If you don’t mind spoilers, then by all means, please continue reading. 🙂

Toward the beginning of The Shadow War (the second book) there is a scene in which it is very important that the main character, Toranih, is captured by the shadows. In the current draft of this scene, a city guard requests her presence for legitimate reasons, but once she’s separated from her friends, a pair of shadows ambush her and the guard, then drag her through a portal to where Shevanlagiy (the antagonist from the previous book) is waiting to kill her. Shevanlagiy makes the attempt, but Toranih takes her by surprise and knocks her aside, leaving Lord Menchtoteale (the leader of the Shadows) to try. He attempts to strike her once, but since Toranih knows that shadows can’t be killed by mortal weapons, she grabs the nearest shadow’s knife and strikes her own hand. She falls into the shadow realm, and Menchtoteale again attempts to kill her, this time making what should be a devastating blow with the Wishing Blade, but Isahna (the trickster god behind the shadows, the god Menchoteale answers to) heals Toranih, orders Shevanlagiy to leave Toranih alone, and orders Menchtoteale to train her.

At this point in time, though, I’m a bit concerned that all of that is going to seem rather… confusing.

Why does Isahna prevent Menchtoteale from killing Toranih, and more importantly, why can’t these big bad guys successfully kill an almost defenseless teenager?

(Though I do have to say that Toranih has been working on her magic, and she is good at physical combat. But still… shouldn’t a well-trained sword fighter with a magic sword, or a super-powerful sorceress, manage one partially-trained kid?)

Since I want these scenes to make logical sense, I did my usual day-dreaming to work out the problems with this scene. As a result, I considered the character motivation for each character involved.

Toranih: She wants to get out of this alive. Being caught by shadows? Not exactly conducive to her plans of warning the port city of the upcoming attack. Now, she’s been in the shadow realm before (in a slightly alternate timeline that got erased because of her actions–read Magic’s Stealing if you want to know how that went), so she has a bit of an idea of how shadow magic works. She also knows that–at least according to her memory–she’s resistant to Menchtoteale’s attempts at magic’s lure (basically, a mind control power).

Shevanlagiy: Thanks to events in Magic’s Stealing, Toranih has part of Shevanlagiy’s magic… specifically her resistance to magic’s lure. Before that event, Shevanlagiy could ignore Isahna’s commands (so long as ignoring his commands don’t alert him to her own secret plans). Now that Shevanlagiy has lost part of her magic, she’s not sure how much it will take for Isahna to give her orders that she must follow, which isn’t good when she plans on stealing the Wishing Blade from him later. At this point, she needs to kill Toranih as soon as possible. However, it’s important that she be the one to kill Toranih, otherwise she won’t get her magic back.

Menchtoteale: He’s in charge of wielding the Wishing Blade, and his job is to collect as much power into the sword as possible. He needs an army of shadows (to overrun the Immortal Realm so that he can kill the gods and force their powers into Wishing Blade). Toranih was one of the few mages who didn’t lose her powers when he wished the magic of Cirena into the Wishing Blade, largely because she had the support of a lower-tier goddess behind her. For Menchtoteale, killing Toranih with the sword means finishing that part of the job. Alternatively, striking her with a shadow blade means he should be able to command her. But he knows that someone who looked like Toranih was particularly resistant to his ability to command the shadows. As such, killing her is the more practical option, even though having a shadow mage on his side could be good for the army.

Isahna: His intent is to have Menchtoteale get as much power in the Wishing Blade as possible so that he can eventually take that sword, confront the high gods, then take their place. (It’s a bit of a vendetta after he lost the bid for power to a different god). He’s gotten surprisingly useful information from Shevanlagiy, but he’s certain that she’s playing him for a fool. Unfortunately, he’s not all-knowing, so he’s not sure what her end-game is. He does have an idea that her resistance to his powers may have dropped recently, and has something to do with Toranih. Thus, keeping Toranih around might give him a few insights into what Shevanlagiy has planned… especially since the kid has strong powers (if she can be coaxed into using them) and an interest in military operations (unlike Menchtoteale, who Isahna chose as his general mainly because the guy could forge the Wishing Blade).

There are other motivations behind these guys, as well, but I’m trying not to give away all the twists of this scene. 😉

Anyway, looking at those motivations, let’s take a look at the scene again and at what could happen instead.

First, Toranih must be captured early on in the story (or at least, she needs to be in a position where she becomes a shadow). This is critical to the plot, as she needs to be working against the shadow army from the inside. The problem with this is that, in theory, Shevanlagiy really should just sneak up on Toranih and stab her in the back.

Problem solved (And we have one very happy Shevanlagiy).

But we know from Magic’s Stealing that Shevanlagiy is hesitant to do that so long as Toranih’s other two friends are around. They have an artifact which can effectively wipe out shadows (and is a large detriment to her own powers). Not only that, but one of those people is Toranih’s sister–who has proven to have particularly good aim with a throwing knife and nearly killed Shevanlagiy once before (Shevanlagiy doesn’t die, per se, but she can get thrown into another realm and thus lose all her progress in this realm). The other person is Daernan–someone Shevanlagiy has been working very hard at making sure he stays alive. Putting him in danger isn’t a good idea for her–not yet.

Even if Shevanlagiy simply stabbed Toranih with a shadow knife and commanded her to hold still while she delivered the finishing blow, the possibility that Toranih might get destroyed by the artifact her friends have–thus permanently losing her “stolen” magic–is not a good risk.

So that’s an area I’m still running into issues with. Shevanlagiy needs Toranih dead, so the question is how does she make that attempt?

For now, let’s say that Shevanlagiy still orders a pair of shadows to kidnap Toranih and bring the girl to her. Now she’s putting the shadows–but not herself–at risk. Shevanlagiy’s first goal is still to kill Toranih… just on her own terms. She’s ready to strike when Toranih arrives, and makes an immediate attempt on Toranih’s life.

Since we don’t want Toranih dead yet, this is where we can see Toranih’s growth with magic from the previous story. She successfully thwarts Shevanlagiy with telekinesis… even though her chances are looking bleak if she can’t find a way to quickly escape.

Now enter Menchtoteale. He’s in the same location (which makes me consider… why would Shevanlagiy bring her captive to the same place as someone who might kill Toranih before her? Perhaps he comes back to their base unexpectedly early? Or perhaps Isahna gets wind that Shevanlagiy is up to something, so he sends his puppet along to check things out). Either way, Menchtoteale arrives unexpectedly, realizes Toranih is the same person he saw earlier, and he knows he won’t be able to control her easily. Forget making her a shadow, then. While Shevanlagiy is still dazed from her earlier attack, he attempts to kill Toranih and be done with it… except that Toranih, in her desperation, snags the knife from one of the nearby shadows and prevents her death by turning herself into a shadow. The catch here is that if he uses the Wishing Blade, that would kill her (but she might not be thinking about that)… unless he stops mid-strike because he’s bewildered that anyone would willingly make themselves a shadow.

He’s not the only one. Toranih isn’t sure what to make of her decision, either.

In the meantime, Shevanlagiy has had enough time to get back into the game. Now it’s more important than ever that she kill Toranih. She prepares to make the kill, but is stopped when Isahna shows up and orders them to stop. She can technically disobey his orders at the moment, but deliberately breaking his rules now would make it clear that she has her own agenda, which would jeopardize her later plans. She holds back, though she’s still trying to figure out how to take out her enemy.

Now, this next section needs some work, but this is what I have in mind so far:

Isahna orders them not to harm Toranih. Both Menchtoteale and Shevanlagiy protest, and Isahna makes the case that Toranih might be useful to have around. He orders Menchtoteale to train her, and orders Shevanlagiy not to kill her. When Shevanlagiy expresses her displeasure with the idea, he begins to question her why. Shevanlagiy tries making excuses, to which Isahna starts giving her minor orders with magic’s lure, ones which he knows she will deny if his suspicions about her are correct. Each time she refuses, her ability to resist magic’s lure dwindles, until he finally gives the order not to kill Toranih. This time, he successfully uses his power against her. Not only can he now keep Shevanlagiy away from his new military interest, but he has also discovered exactly where her resistance to his powers ends.

This is important for multiple reasons.

1st – This sets up a rule of magic that we will see throughout the rest of the series, one which Menchtoteale tells Toranih (paraphrased): “Better to accept the little things that Isahna orders of you, and thus be able to resist the commands that matter to you, rather than resist the insignificant things and be forced to do something terrible.”

2nd – We now see exactly why Shevanlagiy is afraid of Isahna… and why she is more desperate than before to push her plans along and find some way to strike Toranih and get her powers back… especially now that she physically can’t unless she takes care of Isahna first. Not only that, but this puts her in a position to ignore Toranih for the time being and focus her attention on Daernan, which gets into the sub-plot regarding glass-stone and protecting the kingdom from the shadows. Shevanlagiy is playing both sides, which makes her, to some extent, unpredictable.

3rd  – Toranih has now seen firsthand how magic’s lure works from Isahna, which affects her decisions through the rest of the series. This is especially important when Isahna offers her a legitimately useful deal later (Though it comes with it’s costs,of course. I rather enjoy stories with villains who can offer a hard-to-resist deal. Probably one of the reasons that I enjoyed Rumpelstiltskin’s character in Once Upon A Time). Along the same token, we’ll also see Isahna offering Menchtoteale a deal regarding Menchtoteale’s own freedom if he can get Toranih interested in trading places with him… and that gets into a whole nother set of character motivations. Needless to say, Isahna is going to try covering all the angles.

In the long run, taking a close look at what motivates each primary character to act, especially early on in your manuscript, can really help to work out the kinks not only in a specific scene, but also in the full length of the plot. Not only that, but you’ll also have more believable antagonists and stronger protagonists, because we can understand what they’re up against.

Now I just have to figure out how much to actually show in the story. On the bright side I’ve already shown multiple points of view in the first book, so it won’t be as odd if we see the occasional point of view from the antagonists.

I hope this post has been helpful. 🙂 Have you ever explored a character’s motivations to solve problematic scenes?

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Thoughts on Writing – Creating a Fantasy Map

I recently received my final beta-reader comments for Magic’s Stealing, and I’ve been making edits (I’ll be doing a cover reveal soon!), but today I’m going to focus on one of the ideas that the beta-reader suggested, which was to include a map of the region.

A lot of fantasy stories include a map of some sort as a way to help readers envision the layout of the land, or the city where the story is taking place. Maps can be used to enhance the feeling of the story (seriously, take a look at the map of Middle Earth) and one article I read suggested that a well-drawn map, which includes elements of the story, can make the world feel more real. It’s sort of like having an artifact from the world itself.

I’ve debated before on including a map, but I originally put the idea aside because I wasn’t sure if I could make it look professional, and also because I didn’t want to lock down the distances before I finished the series.

Then my husband pointed out, having a map would be a good tool for future reference. Not only that, but I wouldn’t have to include it in the first edition of the ebook. I could wait until I release the print edition, then update the ebook at that time.

Anyway, let’s take a look at the steps I’m taking to create the map. I have a rough guide. When I wrote the first draft of this story twelve years ago, I also drew a map in Paint. It’s horribly inaccurate

The estate where Toranih lives probably shouldn’t be as large as the capital city of Cirena. The Cantingen Islands probably shouldn’t be quite so tiny. And there are plenty of other problems.

SBibb - Old Cirena Map

Original map… made many years ago

My husband suggested that I start by writing down the places referenced in the story, then taking note of their directions and the amount of time it takes to travel from one place to get to another, as mentioned in the story.

So I went through Magic’s Stealing and searched for key phrases related to traveling. Minute, hour, road, travel, east, west… etc. I didn’t include directions within buildings, such as going downstairs. Just the kingdom and the cities.

This is what I found in Magic’s Stealing through a basic search.

Fifteen minutes later, Toranih reached the place of the healers. (From the seer’s cottage, jogging)

 

In minutes they had left the square behind and pounded into the lower city. (Riding hard on horseback)

 

“We’re two hours from Viyna. A guard could stop here, and we’d be reasonably undercover…” (At the mountain forge, riding on horseback, not rushing)

 

They fled into the heavy rain, mud spattering them on the road to Viyna. (From the Covonilayno estate)

 

…and then stormed through yet another portal into the temple in the northern district of Ashan. (Directions within a large city)

 

The girl was cold and shadowy, colder than the northern village of Reveratch. (Region layout)

 

“Go to the northern tunnel. Tell Cafrash to send more of his shadows into the city…” (Directions of a tunnel)

 

“This is it. Sid-Dreh.”//“What’s Sid-Dreh?”//Siklana pushed Toranih out of the way and squinted at the plaque. “South and west, respectively…” (Cardinal directions in Old Cirenan)

 

…but many of them used the communal oven in the marketplace that had developed in the eastern side of the city. (Layout of Viyna)

 

The marketplace brimmed with travelers from Ashan, the eastern port. (Region directions)

 

The ribbons streamed into the sky, a dazzling array of colors, then fled East, away from the city in a glaring river. (Direction the magic is stolen, from Viyna to the mountain forge)

 

“…If the Trickster branches into the Islands or crosses the sea to the eastern lands, there is no telling how quickly he could rise.” (Region layout)

 

Ferta was several days out, even by carriage. (Regional layout)

 

“…When I’m at the academy, I practice in the forest outside of the city walls.” (Reference to Cirena City)

While I may not want to draw out the tunnels on the main map, having a map may make the tunnels be a little more understandable. At this point, though, I’m seeing potential for some interesting back story. How far out do these tunnels actually extend? As you’ll see in a bit, the distances between cities and towns is much greater than the original map suggests. Do the tunnels extend to other cities? Are there towns or dwellings I haven’t mentioned before? Or do they open in the middle of nowhere?

Anyway, instead of trying to mark out the full range of a city or estate, I’m considering following the lead of a few other maps I looked at, which use a basic symbol to designate the location of a city or important landmark. In order to figure out the rough scale, I’ll need to look up the average travel times of riding horseback or walking, and then place my locations based on that scale.

According to this site: http://www.lrgaf.org/guide/writers-guide.htm horses can walk 3-5 miles per hour, trot 8-10 miles per hour, canter at 15 miles per hour, or gallop at 25-30 miles per hour. Now, keeping in mind that weather, type of horse, and condition of horse will effect speed, let’s go with the idea that we’re talking about a horse with decent stamina and who hasn’t been tired from a lot of riding. And let’s go with the idea that the roads in Cirena are of decent quality, and the map is counting on non-rainy days. A general internet search suggests that a fit person can walk 4 miles in an hour (or 1 mile every fifteen minutes), on relatively flat terrain.

So… now that we’ve got some numbers, let’s look back at the descriptions pulled from the story.

Fifteen minutes later, Toranih reached the place of the healers.

In this scene, Toranih is jogging/quickly walking to the temple. She is in reasonably good physical condition, as she’s trying to train to be a guardsman. I had a hard time finding a single average for jogging, so let’s just say that she’s walking. In this case, she walked a mile to reach the temple from the seer’s cottage. If the temple is supposed to be relatively central in the city, then Viyna may be a couple miles wide.

In minutes they had left the square behind and pounded into the lower city.

The characters are riding hard in this scene, but they are likely cantering instead of galloping due to street layout and rain. At the quoted 15 miles per hour, a quarter of a mile per minute, and let’s say 4 minutes, then they have traveled 1 mile from the courthouse to the lower city.

“We’re two hours from Viyna. A guard could stop here, and we’d be reasonably undercover…”

Here, the characters reached the mountain forge by riding on horseback. They took it easy, probably walking or trotting, which puts us at 3-10 miles per hour. Let’s say they traveled at an average of 5 miles per hour. The mountain forge would be roughly 10 miles from Viyna, or if they had cars and a 60 mph speed limit, ten minutes to drive. Picture someplace that takes you ten minutes to drive to on the highway, and now you have the rough distance. (And the kingdom suddenly feels much smaller).

It was going to be a long week (of traveling through the wood).//Scene break//After a full day of assuring her sister that not only were bandits rare in this forest, but she was protected by two mages and– ahem– a well-aimed knife thrower, Toranih finally led Starlight to the forest edge. The dusty road from Viyna to Ashan wound its way in the distance around the edge of the forest. Though the road was smoother, the route jogged several miles north and was usually filled with travelers, adding almost a week to the trip when a couple days of hard riding through the forest would do.

They’re in a hurry to get through the woods, but it’s been raining and they’re somewhat tired. Let’s say their pace averages a fast walk, at five miles per hour, for seven hours of the day. That’s 35 miles a day, or 175 miles after five days of traveling. According to the narration, the road between Viyna and Ashan that avoids the forest adds a day to the trip, whereas hard riding (when possible), gets them quickly through the forest. Say ‘hard riding’ is 7 hours a day (based on 7.5 hours I read somewhere on the internet…which I don’t remember where now and may not be all that accurate) at 10 miles per hour due to rough terrain, so that would be 70 miles per day, or 140 miles in two days.

If they took the road directly from Viyna to Ashan, instead, then they would be walking 7 hours a day, 4 miles per hour, and let’s go with a full seven days, approximately 196 miles. Granted, if they stop to rest one or two of those days, and that’s been taken into account, then the distance isn’t quite as great.

But I went ahead and plugged 196 miles into Google Maps to get a comparative distance with a road I’m used to traveling, and eeps.

Ranging from 140 to 200 miles wide, that forest is much larger than what I was picturing.

This is why having a scaled map is a useful tool for world building. Even if you don’t give the readers the actual scale, you can figure out relative distances without having them wobbling all over the place.

So, for my test run, let’s say that this forest is 140 miles. I picture the edge of the forest not being too far from Viyna, maybe a quarter mile, and maybe a couple miles from Ashan. For the Cantingen Islands (which are mentioned in the second book as being ‘near’ to Ashan but without a more concrete detail), I went to look at the distances from other islands to a mainland. Miami, Florida, to Bailey Town, Bahamas, is about 55 miles out, according to Google Maps and a trusty ruler.

Let’s say the Cantingen Islands are 60 miles from Ashan.

Now, let’s look at another city…

Ferta was several days out, even by carriage.

Horses trot at 8-10 miles per hour, and I read that a pair of horses pulling a carriage would move faster than the average horse alone, so let’s go with 10 miles per hour. Then 8 hours of riding for 4-5 days, we’re looking at around 320 to 400 miles away.

It doesn’t even fit on my initial map attempt.

SBibb - Cirena Map Test Run

Then my husband reminded me that people rarely travel in straight lines. There’s hills, glades, rivers, lakes, avoiding certain unfriendly estates, resting the horses… a number of things that could increase the time, but not the distance.

So I took my current references, redrew a map that actually includes geography, replaced the cities with the scale as a general guide, not rule, and now I plan to check the narration to revise for the updated travel times (or have them be a little more accurate, anyway). I don’t plan for this to be the final version (since it’s missing a few cities and roads), and I probably won’t put this in the ebook.

But it should make a lot more sense than the original version–other than the fact that this map has the mountain forge at 90 miles away from Viyna, which doesn’t exactly work for the story.

Oh, well. It’s a starting point.

SBibb - Cirena Map Updated

I hope you enjoyed this post. 🙂

Have you ever tried making a fantasy map? What difficulties have you run into?

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Thoughts on Writing – To Time Travel or not to Time Travel

In my current manuscript, The Wishing Blade, I’ve been streamlining the original story while striving to maintain the overall tone. I started the original draft in 2003, and I set it aside for several years before pulling it out again this year to revise it into a workable manuscript. While some plot points have been easy to keep or discard, there’s one point I’ve been going back and forth on… whether or not to keep the time travel incident in the novel or whether to remove it all together.

Now you get to have a first hand look at my thinking process regarding revisions… all while I try to work this out for myself.

First, let’s look at reasons to remove this incident:

1. Potential Confusion: I have a tendency to confuse people once I start talking about time and dimensional travel in my stories, and I’ve seen agents list ‘no time travel’ in what queries they accept. (However, the last point is negated since I intend to self-publish this particular story. And technically, while some agents might not want time travel, others might. So this bullet revolves entirely on whether or not the incident is confusing to readers and pulls them out of the story.)

2. Potential Loss of Tension: One of the main characters must ‘die’ if the time travel incident remains. The other character goes back in time with the aid of the gods, and they prevent the death of the other character. There are complications that arise once the character returns to the present, but those complications are minimal. Worse, by showing readers that there’s an object that does allow time travel in this particular universe, any future sequences threatening the main characters’ lives is moot, because readers may then wonder why the characters don’t just go back in time and fix it?

3. Unnecessary Plot Point: At this point, the time travel device only allows time travel once in the story. It does do other things, but I could pretty easily remove the time travel incident and chalk up its bizarre powers to other magic.

Possible solutions:

1. Streamline the sequence: Make sure what happens is clear to readers (or is as clear to the readers as it is to the main characters…).

2. Consequences: To avoid loss of tension, I could make sure there are consequences to going back in time. (In this case, I need to make sure those consequences are clear to both character and reader). Also, I could make the complications that arise from time travel a little more immediate. This was actually the case in the original draft, but was removed when I didn’t find a reasonable place to reinsert the point. (And this is a good example of where having fresh eyes to look at a manuscript can be useful, because you might remove an important tidbit without noticing the resulting effects).

3. Increase Relevance: Similar to the point about consequences, if I can better tie in the time travel incident to the main plot, along with making the incident crucial with what’s to follow (along with the irony of the incident regarding the antagonist), the incident shouldn’t feel out of place. Linking the antagonist further into this scene could also improve the overall story.

Besides the reasons I might remove the incident, I’m also considering reasons to keep the incident:

1. Character Development and Increased Tension: We get to see the antagonist step forward to protect one of the main characters– and get a hint as to why, and what she’s willing to do if that character dies (and remains dead). The goal? Tension rises as the character she’s trying to protect risks their life time and time again, because if the antagonist loses said character, all bets are off in regards to what she’s willing to do to achieve her larger goal, and what she isn’t.

2. Magical World Building: We have an explanation of why the ‘time travel device’ reacts a certain way to the bad guys later. Cause and effect comes into play, and the world gets a little more exploration. And we get to see more of the various character relationships.

3. Time Travel Is Cool: I like time travel and dimensional world travel. I know, that’s not a good excuse. But really… we’ll get to see the effects of time travel first-hand in the story. We don’t just hear about it from a side character.

4. Paradoxes! Or so the characters think…: The incident sets up tension between the antagonist and protagonist, because the protagonist knows who the antagonist is but doesn’t know how they got there…

This is a case where beta readers will come in handy. They’ll help decide if the time travel plot point should be removed altogether (requiring a light restructuring of the plot), or whether the plot point works. For now, (thanks in part to having a friend enthralled by the backstory of the antagonist), I’m going to keep the incident.

So… onward to editing, and I hope you enjoyed this post. Let me know what you think, and please let me know if there’s any topics you’d like me to cover. 🙂

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Behind the Scenes – The Great Forest of Shee

This is a cover for Melange Books. I’ve done covers for this author before, but in the previous cases, they were contemporary stories, not fantasy. The author mentioned in the provided art form of the possibility of having the unicorn on the cover, so that’s the direction I went. At first I tried a unicorn running toward the reader, but upon learning that the unicorns in this story where primarily passive, I tried a different route. The calm, resting creature. Originally I had the unicorn as a smaller piece of the cover, but since it didn’t really stand out (the cover lacked a focal point), I brought it forward and made it larger, thus drawing more attention to the unicorn. To add to the magical feel of the place, I increased the yellow and green color tone for the forest, as well as added a leafy texture to the edges of the cover.

This is the result:

SBibb - The Great Forest of Shee - Book Cover

SBibb - The Great Forest of Shee - Back of Book Cover

Stock images from Dreamstime:

http://www.dreamstime.com/stock-photo-white-lying-horse-green-grass-spring-image42596458
http://www.dreamstime.com/stock-images-african-oryx-image15187054
http://www.dreamstime.com/stock-images-morning-deep-forest-foggy-image33124894
http://www.dreamstime.com/royalty-free-stock-photography-huge-old-tree-washington-olympic-peninsula-forest-theme-nature-photo-collection-image32432337
http://www.dreamstime.com/royalty-free-stock-images-ancient-castle-door-image22839459
http://www.dreamstime.com/royalty-free-stock-images-shaded-blue-swirls-background-image12615609
http://www.dreamstime.com/stock-image-giraffe-underbrush-image27233341
http://www.dreamstime.com/stock-photos-dappled-morning-light-shines-though-elm-tree-image11383183

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Behind the Scenes – Fallenwood

Another cover for Melange Books.

This is actually for the book prior to Forgetting Fallenwood, but the book is being re-released by Melange Books, and so it’s getting a new cover. For this one, I tried capturing the feel of the other covers I’ve done for this series, including text placement, colors, blur effects, and the fonts I used. I quite enjoyed playing with the concept of the unicorn, as well. The author had mentioned on the art form that it might be neat to have the unicorn somewhere on the cover. I took the idea and ran. 🙂

This is the end result:

SBibb - Fallenwood - Book Cover

Stock images from Dreamstime:

http://www.dreamstime.com/stock-photo-black-horse-runs-image14200120
http://www.dreamstime.com/royalty-free-stock-photography-woodland-glade-image22617867
http://www.dreamstime.com/royalty-free-stock-images-wild-eland-image5106959

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Behind the Scenes – Mira’s View

This is a cover for Melange Books.

For this cover, since the background was horizontal and worked well to wrap-around, I went ahead and created a wraparound background, rather than my usual basic background. This ended up using two different images for the elf… the face and head were one photo, to match the description of the character, and the body/outfit were another, to match the style of outfit requested on the art form. On the final image, since the hair was cut off at the edges on the original photo, I played with the smudging effects to create a more illustrated, fantastical look, and I also played with the softness of the background using Gaussian blur, Lens Blur, and overlay/soft light effects.

Here’s the end result. 🙂

Basic wrap-around, no spine or text on back cover:

SBibb - Mira's View - Wrap-around Book Cover

 

Front E-Book Cover:

SBibb - Mira's View - Book Cover

Stock images from Dreamstime:

http://www.dreamstime.com/royalty-free-stock-photography-portrait-young-beautiful-woman-long-flowin-image24027857
http://www.dreamstime.com/royalty-free-stock-images-elf-image37703849
http://www.dreamstime.com/stock-images-green-forest-mountain-view-top-some-villas-image32433154

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Filed under Book Covers, Client Work, Photo Illustration