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Worldbuilding Basics: A Beginner's Guide to Creating a Fictional World

Hannah Yang

Some imaginary worlds are so detailed and immersive that they almost feel as real as our own.

In our mind’s eyes, we’ve dined with hobbits in Middle Earth, attended magic classes at Hogwarts, and fought villains in the Marvel Universe.

What did those authors do to make their imaginary worlds so compelling? And how do you build a detailed world like that for your own story?

Read on to learn how to create a unique fictional world that your readers can get lost in.

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On to the article!

What Is Worldbuilding in a Story?

What are the different types of worldbuilding, worldbuilding brainstorming techniques, what are the key elements of worldbuilding, what are some common worldbuilding mistakes, examples of great worldbuilding in fantasy and science fiction.

Worldbuilding is the process of developing a fictional setting for a novel or short story.

Every fiction writer will need to do some amount of worldbuilding , whether they need to invent a single apartment or an all-encompassing multiverse.

If you write fantasy or science fiction, worldbuilding can be incredibly complex. You might need to develop the history of dragons, the linguistics of a whole new language, or even new laws of physics.

There are two types of worldbuilding: primary world and secondary world .

Primary worlds are worlds similar to some version of the real world, while secondary worlds aren't set on Earth at all.

Primary world worldbuilding is necessary for stories that are set in a slightly different version of the Earth we know.

You’ll need to build a primary world if you write in the following sub-genres:

• Contemporary fantasy , which is fantasy set in the present day (e.g. Harry Potter by J.K. Rowling, The Magicians by Lev Grossman, American Gods by Neil Gaiman)
• Alternate histories , which explores what might have happened if historical events had differed from what happened in reality (e.g. The Man in the High Castle by Philip K. Dick, United States of Japan by Peter Tieryas, The Calculating Stars by Mary Robinette Kowal)
• Apocalyptic science fiction , which describe cataclysmic events that end society as we know it (e.g. The Road by Cormac McCarthy, Station Eleven by Emily St. John Mandel, Oryx and Crake by Margaret Atwood)
• Any other story set on a version of Earth

Secondary world worldbuilding is necessary for stories that are set on an entirely different planet from the real world, or maybe even something that’s not a planet at all.

You’ll need to build a secondary world if you write in the following sub-genres:

• Epic fantasy , which is set in an entirely fictional fantasy world (e.g. The Lord of the Rings by J.R.R. Tolkien, A Game of Thrones by George R.R. Martin, A Wizard of Earthsea by Ursula K. LeGuin)
• Space empire/space opera science fiction , which span multiple planets or even multiple galaxies (e.g. Star Wars , Star Trek , A Memory Called Empire by Arkady Martine)
• Portal fantasy , where characters in the real world get transported to fictional worlds (e.g. The Chronicles of Narnia by C.S. Lewis, Alice’s Adventures in Wonderland by Lewis Carroll, The Ten Thousand Doors of January by Alix E. Harrow)
• Any other story set on a world completely different from Earth

The secret to good worldbuilding is to make it feel like there’s a whole world you’ve developed, even if you only show a few details of it.

You can’t actually invent a whole world from scratch, of course—that would take centuries to accomplish—but you can give the reader a few well-placed details that make it feel as though this world has a lot of depth.

Picture a high-definition photo with a blurry background. A single very real moment in the foreground can make the reader feel like the background exists in just as much detail, even if the background is just a set of smudges.

One useful tip is to start from a single important change and see how many effects that makes on the world. Let’s call this change the Seed.

For example, say your story is set on a world exactly like ours, except people have always been able to fly. That's the Seed for their world. How many effects could that lead to?

Here are some possible effects that could sprout from that Seed alone:

• Instead of the swearwords we use, their swearwords might relate to flight and/or falling
• People might build floating societies, where the upper-class literally lives at the top and the lower-class literally lives at the bottom
• Children might look forward to a rite of passage in which they take their first solo flight, the way children look forward to getting their driver’s license in our world

Starting with a single Seed is often more effective than coming up with a thousand different ideas and trying to merge them together into a cohesive whole.

When you start from one source, everything holds together logically, and it feels like there’s a lot of depth to your world even if you haven’t fully fleshed it out.

Once you’ve decided on your Seed, there are countless types of effects you can consider. I’ve compiled some of the most important ones into a list of questions.

Here’s a list of detailed elements that you can use to brainstorm your fantasy or science fiction world.

Geographical Elements

If you’re building a secondary world, you can start with the planet itself. This is a piece that many fantasy writers often skip, but it has so much potential in the fantasy genre.

Setting your story on a different planet—or not on a planet at all—leads to all kinds of interesting effects.

• Does your world exist on a planet at all, or is it somewhere else (e.g. a spaceship, a flat disc, an astral plane)?
• If you have a planet, how big is the planet? How strong is its gravity?
• How long are the days in your world? The years?

The Geography

• Are there continents on this planet? What do they look like?
• Do the continents have rivers, mountains, deserts? (Tip: It can help to draw a tectonic map , to see where these structures would naturally occur)
• Are there natural disasters on this planet?

The Flora and Fauna

• What kinds of climates exist on this planet?
• What kinds of plants and animals live in each climate?
• Which species in your world are considered “people”? Are there talking plants, sentient spaceships, etc.?

Societal Elements

Whether you’re building a primary world or a secondary world, there will likely be elements of your fictional societies that are different from the real world.

Building a new society and culture is one of the most exciting parts of worldbuilding.

If your book spans more than one society, you’ll want to do this for each group of people that the readers will meet.

• What do they eat? Do different social classes eat different things?
• Where does their food come from? Who grows it?
• How many meals do they eat each day? What are their dining customs?
• What does their language sound like (or look like, or taste like, or smell like)?
• What names do they have? Are their names based on real words? Does everyone have one name, or a first name and a family name, or something else entirely?
• What kind of slang and swearwords do they use?
• Who do they live with? (e.g. friends, parents, spouses, business partners)
• Is there marriage in this society? Who decides each individual’s marital partner(s)?
• How does reproduction and parenthood work?
• What kind of currency do they use?
• What natural resources are considered valuable? Why?
• What kind of economic system do they have? Is it capitalist, communist, socialist, or something else entirely?

Social Roles

• How many genders are there? What are the different roles each gender is expected to play?
• How much social inequality is there?
• How much social mobility is there? Can a lower-class person join the upper classes by acquiring money, education, or some other resource?

• Who holds power in this society?
• Who decides who holds power in this society? Is it a democracy, a monarchy, an oligarchy, or something else entirely?
• Are there any threats to this balance of power?
• Are there gods in this world ? Do they interact with people?
• What kind of religious practices or rituals does this society have?
• What are the creation stories of this society? How do they believe they came here?

Technology / Magic

• What machines and tools do these people use?
• Can people wield magic? How does the magic system work?
• Who has access to these machines, tools, and magic? Can everyone use them or are they restricted in some way?

There are several mistakes that many beginner fantasy and science fiction writers make. I personally have been guilty of all of these at some point in my writing journey.

Of course, none of these “don’t”s are set in stone—if you really want to do one of these things, there are ways to pull them off well.

But as a general rule, these mistakes tend to hurt your story more than they help it.

Mistake #1: Borrowing an existing fantasy world, instead of creating something new.

There are countless fantasy worlds that are just rehashed versions of The Lord of the Rings , complete with J.R.R. Tolkien’s vision of elves, orcs, and dwarves.

You might be thinking, The Lord of the Rings was amazing, so what’s wrong with reusing it?

Well, for one thing, it’s a wasted opportunity. You could come up with a creative and original world that would make your story stand out from the crowd.

Also, copying existing fantasy worlds also means that your story will come inherent with the perspectives those authors had.

For example, J.R.R. Tolkien’s fantasy species reflect some of the racial prejudices of his time, which are prejudices you might not want to perpetuate.

Unless you build your own fictional world, you will never be able to imbue it with your own authentic perspective and fresh ideas.

It’s okay to take inspiration from other authors’ worlds, but you should always find a way to make it your own, instead of copying it outright .

Mistake #2: Using disparate details that don’t belong together.

Maybe you have three unique ideas for a magical world: talking volcanoes, underwater dragons, and strong matriarchies. So you throw all three together into a single book.

But how do these three things interact with each other? What was the chain of cause-and-effect that led to them all existing in the same place?

Most of the time, readers will get confused when you throw too many disconnected details into your world, because you didn’t come up with a logical enough reason for all those things to coexist. Carefully consider how each thing affects everything else.

With worldbuilding, sometimes less is more. Considering interconnections before you add new elements will add so much logical cohesion and depth to your story.

Mistake #3: Spending too much time on worldbuilding details that don’t serve the story.

At the end of the day, what makes a great novel is the story, not the setting.

Worldbuilding is a great servant, but a bad master.

If you’re twisting your story to suit the details of the world, rather than developing the details of the world to suit the story, you might want to shift your priorities.

Prioritize the details you develop based on what will matter to the plot and to the protagonist.

Don’t include a five-paragraph essay on the history of dragons in your world, no matter how interesting that history is, if none of that information has anything to do with the main plot.

Be ruthless when deciding what does and doesn’t belong in your novel.

Mistake #4: Making your imaginary world too static.

How many science fiction worlds have you seen where a single regime has ruled for the past thousand years?

Everything is uniform, everything is static, and everyone is somehow happy with the way things are.

This is common in fiction, but impossible in the real word.

Look around at your neighborhood right now, wherever you live—or your city, or your country, or your planet—and think about how much your own world has changed in your lifetime.

A good fictional world should always be evolving. You should give some thought to your imaginary world’s history, not just what it looks like today.

Mistake #5: Failing to consider all five senses.

People experience the world in different ways. Imagine yourself in a busy marketplace. You would simultaneously see the stalls, hear the chatter of the shoppers and calls of vendors, smell the food being cooked on a stall, and feel the heat of the day.

But if you only describe a setting using one sense, it can feel one-dimensional. Check that you have included a variety of sensory elements when describing your setting using ProWritingAid’s Sensory Report.

When you upload your writing ad run the report, it will give you a rundown of how many of each type of sensory word you have used so you can make sure you've got a balance.

Try the Sensory Report now with a free account.

Now that we’ve talked about common mistakes to avoid, let’s look at some examples of worlds in literature that are fresh and unique.

Let’s look at some examples of fantastic worldbuilding from beloved fantasy and science fiction stories.

The Planet Arrakis in Dune by Frank Herbert

Dune is a classic masterclass in worldbuilding. The books are set on multiple planets, each of which feel like worlds of their own.

Frank Herbert was fascinated by ecology, and as a result, he did an incredible job developing the ecological details of his worlds.

The Seed for Arrakis is that it’s a desert planet, on which water is extremely scarce.

The Fremen, the native inhabitants of this planet, have built their entire culture around the task of surviving in a water-scarce place.

Some worldbuilding details that stem from this Seed:

• The Fremen wear stillsuits that collect and repurpose their bodies’ water so they can drink the liquid they sweat, urinate, and exhale.
• Instead of using coins, their currency takes the form of “water rings,” which represent their personal ownership of moisture, because water is more valuable than gold on this planet.
• In Fremen culture, spitting at someone is considered a sign of enormous generosity and respect, because of how valuable water is. This almost causes a deadly misunderstanding in one scene of the story, when an outsider from another planet assumes that being spit at is an insult.

The Continent Called the Stillness in The Broken Earth Trilogy by N.K. Jemisin

The Broken Earth is one of the most intricate and unique worldbuilding systems in the fantasy genre.

The Seed for the Stillness is that the planet has a lot more tectonic activity than our planet does, with frequent earthquakes and tsunamis.

As a result, the people who live on the Stillness essentially live on a planet that keeps trying to kill them.

This is what caused their magic system and system of societal oppression to evolve.

• The sciences most valuable in the Stillness are fields like geomestry and biomestry, which combine the study of geology with other important fields of study to help scientists manage the tectonic activity.
• Orogenes, who have the magical ability of controlling the earth, are named after rocks (e.g. Syenite, Alabaster, Feldspar).
• Swearwords on the Stillness include “evil Earth” (since their planet often tries to kill them), “rusting Earth” (since rust weakens buildings and causes them to collapse in earthquakes) and “earthfire!” (which refers to volcanoes and magma).

The Republic of Gilead in The Handmaid’s Tale by Margaret Atwood

The Handmaid’s Tale is a classic dystopia. But while some dystopias come into existence just because evil people craved power, the Republic of Gilead came into existence to protect a single valuable resource.

This choice gives the story an incredible amount of logical cohesion and believability.

The Seed for Gilead is that female fertility rates have gone down drastically.

As a result, fertile women are considered the most valuable resource, and women are subjugated under a totalitarian theocracy.

• Women are assigned societal functions (Wives, Marthas, Aunts, or Handmaids) and must dress in the assigned colors of their role.
• Handmaids are named after the men they serve. The main characters include Offred who serves Fred, Ofglen who serves Glen, and Ofwarren who serves Warren.
• The far-right movement that created the Republic of Gilead is called the Sons of Jacob, a reference to the Biblical story of Jacob and Rachel, which was the inspiration for the role played by the Handmaids

Build An Immersive Fantasy World

And there you have it: a comprehensive guide to building your own fantasy world.

If you enjoy making maps and timelines, I highly recommend trying World Anvil , which offers a variety of free worldbuilding tools .

What element of worldbuilding is your favorite to brainstorm? Have you come up with any creative details for your own fantasy worlds?

Let us know in the comments.

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Hannah Yang is a speculative fiction writer who writes about all things strange and surreal. Her work has appeared in Analog Science Fiction, Apex Magazine, The Dark, and elsewhere, and two of her stories have been finalists for the Locus Award. Her favorite hobbies include watercolor painting, playing guitar, and rock climbing. You can follow her work on hannahyang.com, or subscribe to her newsletter for publication updates.

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A Step-by-Step Guide to Immersive World Building

A book like A Game of Thrones , a movie like Star Wars, or even a video game like Final Fantasy can make it appear their creators have effortlessly built a fantasy world out of nothing.

In fact, these worlds may feel as real as the world you live in.

How do they do it? More importantly, how can you do it?

More than two-thirds of my 200 books are novels, but creating fictional worlds never seems to get easier.

It’s an art, and in genres such as Fantasy or Science Fiction, world building is more important than ever. It can make or break your story .

In this guide, I’ll give you tips to follow and errors to avoid. But first…

• What is World Building?

Writing a story is much like building a house — you can have all the right ideas, materials, and tools, but if your foundation isn’t solid, not even the most beautiful structure will stand.

World building is how you create that foundation — the Where of your story.

World building involves more than just the setting . It can be as complex as a unique venue with exotic creatures, rich political histories, and even new religions. Or it can be as simple as tweaking the history of the world we live in.

Go as big as you want, but remember: world building is serious business.

Create a world in which readers can lose themselves.

Do this well and they become not just fans, but also fanatics. Like those who obsess over:

• Harry Potter
• A Game of Thrones
• The Marvel Universe

Each approaches world building in a different way:

1. Real-World Fantasy

Here you set your story in the world we live in, but your plot is either based on a real event (as in Outlander ) or is one in which historical events occur differently (for instance, had Germany won World War 2).

In Philip K. Dick’s The Man in the High Castle , he imagines a world in which Franklin Roosevelt was assassinated in the early 1930s.

2. Second-World Fantasy

Here you create new lands, species, and government. You also invent a world rich in its own history, geography, and purpose.

Examples include:

• The Lord of the Rings

Some novels combine the Real World and Second World Fantasy. The Harry Potter series, for instance, is set in the world we live in but with rules and history foreign to us.

(The Chronicles of Narnia and Alice in Wonderland are also examples of this. )

Your job is to take readers on a journey so compelling they can’t help but keep reading to the very end.

• A World Building Guide

Step 1: Plan but Don’t Over-Plan

Outliners prefer to map out everything before they start writing.

Pantsers (those who write by the seat of their pants) write as a process of discovery — or, as Stephen King puts it, they “put interesting characters in difficult situations and write to find out what happens.”

Though I’m a Pantser, I can tell you that discovering a new world is a whole lot harder than building it before you get too deep into the writing.

Build your world first, then you can better focus on your story .

However, over-planning can also be a problem.

Many fantasy writers tell me they become so engrossed in world building that they find reasons not to write.

World building must not come at the expense of your story.

If you’re like me, you may have to spend more time planning than you’re used to.

If you’re an Outliner, draw a line in the sand and start writing as soon as you’re ready, even if you suspect you’ll have more spadework to do as you go.

Step 2: Describe Your World

Once you’ve determined your genre, paint for your reader a world that transports them, allowing them to see, smell, hear, and touch their surroundings. Show them, don’t tell them.

Which idea for this new world most excites you ? An other-worldly landscape? A new language? Strange creatures? Build on that to give you the momentum you need when the going gets tough.

• Climate / Environment

When James Cameron wrote the movie Avatar , he created countless reference books on Pandora’s vegetation and climate and even botany.

In Cormac McCarthy’s The Road , the main characters live in a post-apocalyptic world covered in ash and largely devoid of life. Their entire journey revolves around finding food and water and how to stay warm.

In A Game of Thrones , George R.R. Martin went as far as creating maps.

Other stories that feature maps:

• The Lord of the Rings by J.R.R. Tolkien
• The Chronicles of Narnia by C.S. Lewis
• Discworld by Terry Pratchett
• The Princess Bride by William Goldman
• Treasure Island by Robert Louis Stevenson
• Winnie the Pooh by A.A. Milne
• A Song of Ice and Fire by George R.R. Martin

World Building Questions:

• Was your world always the way it is now? If not, what was it like before and what caused the change?
• How much of your world do you need to show to support the story ?
• How does the terrain influence your story?
• What is the weather like and does it impact your story?
• How many mountains, oceans, deserts, forests?
• Where are the borders?
• What are the natural resources and how do they impact your story?

Be sure to focus on all five senses, not just seeing and hearing. Touch, taste, and smell will make your world feel real and familiar, even if it’s fantasy.

Step 3: Populate Your World

• Are the inhabitants people, but somehow different from you and me?
• Are they aliens, monsters, or some new species?

In The Lord of the Rings , Tolkien gave Frodo a past, personality traits, and morals. But he first determined what a hobbit looked like and how he lived.

World Building Character Questions:

• How big is their population (i.e., how big is your world)?
• How did they become part of your world ( their backstory )?
• Do they have a class system?
• What are the genders, races, and species?
• Does everyone speak the same language?
• How do they get along?
• Are there alliances?
• What resources do they enjoy?
• What resources do they lack?

Step 4: Establish the History of Your World

• The Lord of The Rings focuses on an ancient war .
• The Hunger Games is built on decades of oppression.
• The Divergent trilogy characters are unaware of what their world used to be like.

When world building, consider:

• The Deep Past : What happened to fuel the present economy, environment, culture, etc.
• Trauma : Wars, famines, plagues.
• Power Shifts : Political, religious, or technological.
• Who have been the major rulers?
• What took place during their reigns?
• Who are the enemies of your world?

Step 5: Determine the Culture of Your World

In Star Wars , for instance, religion (The Jedi vs. The Dark Side), societal structure (slaves and free), and politics (the trade wars) play huge roles.

• Is your world totalitarian, authoritarian, or democratic?
• Do your inhabitants speak a common language?
• How do your characters behave? Will they break the rules?
• Are the rules considered fair, or is society opposed to them?
• How are inhabitants punished?
• What is the religious belief system?
• What gods exist?
• How do religious rituals or customs manifest themselves?
• Is there conflict between religious groups?
• How do different social classes behave?
• What do they wear?
• How do families, marriages, and other relationships operate?
• How do inhabitants respond to love and loss?
• What behaviors are forbidden?
• How are gender roles defined?
• What defines their success and failure?
• What and how do they celebrate?
• Do they work?

Step 6: Power Your World

• Is your world energized by equipment or magic?

Equipment involves technology like Artificial Intelligence, space or time travel, or futuristic weaponry.

Or it could focus on simpler technology like swords, guns, or horses.

Magic allows you to take your worldbuilding to new realms.

In 2001: A Space Odyssey , Arthur C. Clarke explained how things worked and why, making it as realistic and factual as possible.

When writing his futuristic novels, Iain M. Banks referenced droids and spaceships but never explained how they worked.

The same applies to magic in your story.

You can either explain how it all works or simply focus on how it is used and why.

• Does magic exist in your world?
• How powerful is it?
• Where does it come from?
• How does it manifest itself?
• Can it be controlled?
• Who wields it?
• Can it be learned or are people born with it?
• Are wands or staffs, etc., needed?
• How does it affect the user?
• Do people fear it or embrace it, and what makes the difference?
• Is there good and evil magic?
• What other technologies do people use?
• Who controls it?
• How do they travel and communicate?
• How do they use these technologies day-to-day?
• Do they use technology for entertainment?
• Do governments use it to gain or maintain power?

In Fantastic Beasts , J.K. Rowling wrote a guide that focuses on how the magic works.

If magic or futuristic technology play roles in your world, consider doing the same.

It doesn’t have to be as detailed or as complete as Fantastic Beasts . So long as you have a resource that keeps all the rules in one place, you’ll keep your world (and the rules it lives by) consistent.

• Keep Your World Grounded

World building involves a lot of preparation. But it’s also easy to go overboard with the universe you create, especially if you’re an Outliner.

The excitement of creating and exploring your new universe should be accompanied by a commitment to believability.

That might sound strange when we’re talking about wholly made-up worlds born in our imaginations. But one of the reasons series like Star Wars, Harry Potter , and The Hunger Games garner so many devoted fans is because their worlds have been rendered in such a way that viewers and readers wholly buy in and see them as real places.

They’re relatable.

If you’ve come across the phrase “a willing suspension of disbelief,” you know it refers to a reader’s willingness to temporarily embrace the impossible—setting aside their natural skepticism. And for the most fun reading experience, despite knowing down deep what they’re reading is fantasy, they allow themselves to accept the premise. 

So how do you convince your readers to believe in such things as space knights and wizard schools?

1. Be consistent

Always follow your own rules. If yours is a story in which monkeys fly, have them fly and treat this as normal.

As you build your world, reinforce the laws you create (religious, political, physical, etc.).

While these rules will not likely be the focal point of your novel, they should be prominent and accepted as normal throughout.

2. Draw inspiration from real-life 

Real-life historical events, personal experiences, interesting natural phenomena, and ideological beliefs (such as ancient religions and philosophies) can inform your world building.

Whether you’re writing real-world fantasy, second-world fantasy, or a combination of both, stories from real life inspire compelling fiction.

As I discussed before, real-world fantasy is a story set in a world that closely resembles our own, often with familiar locations, cultures, and historical contexts. However, it incorporates fantastical elements, such as magic, mythical creatures, or supernatural phenomena. 

• J.K. Rowling has said that many characters in the Harry Potter series were inspired by people from her real life including childhood friends and teachers. She was also influenced by myths and folklore around the world, including creatures such as basilisks, centaurs, and trolls.
• C.S. Lewis drew from his experiences opening his home to evacuee children during WW2 for the story of the Pevensie children in The Chronicles of Narnia .

Second-world fantasy , also known as high fantasy, is set in a completely invented or parallel world distinct from our own. The author creates the entire setting, including geography, cultures, languages, and magic systems. However, authors of these made-up worlds still draw inspiration from real life.

• J.R.R. Tolkien’s Middle-earth in The Lord of the Rings was greatly influenced by his study of Old English literature particularly the epic poem Beowulf . 
• George R.R. Martin’s Westeros in A Song of Ice and Fire  is loosely based on The War of the Roses fought in 15th-century England.

3. Prioritize your story over your world

Be very careful to make your plot even more interesting than your world. As fascinating and engaging as Harry Potter’s world is, the real music of the story is what happens—not simply where it happens.

If your world is populated with the most fascinating magical societies, mythical creatures, and mysterious histories, your fantasy fails if your characters are flat and your plot is predictable. While fictional worlds can intrigue readers, your other story elements must captivate them.

• Write Attention-Grabbing Fiction

No two writers will approach world building the same. Just be careful not to get so bogged down in world building that it keeps you from writing your story.

Have fun with it!

Write a story that keeps your readers riveted to the end.

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Last updated on Feb 03, 2023

Worldbuilding: Create Brave New Worlds [+Template]

Worldbuilding is the stage in the writing process where authors create believable settings for their stories. This may involve crafting a fictional world's history, geography, politics, and economy, as well as religions or powerstructures.

Since creating a fictional universe is a daunting task, you might want a bit of help. Here's how to worldbuild in 7 steps:

1. Define your world’s name and setting

2. create a map of the territory , 3. populate the world with people, 4. elaborate your civilization’s history, 5. create systems of technology and magic, 6. distribute resources with a working economy, 7. determine your world’s power structure.

We’ve also created a template to help you in your process, which you can download for free.

FREE RESOURCE

The Ultimate Worldbuilding Template

130 questions to help create a world readers want to visit again and again.

Broadly speaking, the setting of your story will either be our own world, or an entirely fictional world — what’s known as “second world” fantasy. Before you start work on your backstory, it’s essential to know which of these categories your story will fall under.

Create second worlds from scratch

George R.R. Martin’s A Song of Ice and Fire and Raymond E. Feist’s Riftwar cycle are classic examples of “second world” fantasy:  they were able to create worlds untethered by historical paths or laws, which gave them a lot of freedom of choice. 

This creative freedom is exciting, but it also requires a lot of world building work to invent a fleshed out and textured fantasy world. A strong starting point in order to define your world as “other” to our own is selecting your world’s name. You can make it as cool as you like; think Discworld, Middle Earth, Zamonia, etc.

Set your story in an Earth-like place

Not all fantasy writers, however, wish to create an entirely new world. You can always set your story right here on Earth. For example, the vast majority of literary fiction, mystery, and romance novels are set on a place called Earth that bears a striking resemblance to our own world. This kind of world creation may require less invention on behalf of the author, but may require just as much preparation as they are constrained by historical specifics, technology, and politics.

Within “real world” fantasy, however, you will see two broad subgenres : alternate history fantasy, and historical fantasy. 

For historical fantasies, while some amount of historical license is accepted (and encouraged), your readers will notice something’s wrong if your book has Atilla the Hun kidnapping Florence Nightingale without the help of a time machine.

Alternate history fantasy gives you a little more freedom; as the name suggests, you’re inventing an alternate version of history. Still, you’ll want to think carefully about the changes you’re making, and the way they might impact the day-to-day life of your characters. 

Once you’ve selected between first and second world settings, you can begin building it in earnest. This is where the fun really begins.

Watch: How to create your worldbuilding bible

Once you’ve named your world, it’s time to fill it. That means having at least a broad sense of its geography and ecology, so that you know what the landscape looks like, and what beasts your characters are likely to encounter.

You can consult our worldbuilding guide for a full list of prompts, but some questions to consider include:

• What sort of environment can be found in different areas of your world? (Deserts, oceans, mountains, forests, etc)
• What wildlife can be found there?
• What is the climate like?
• Where are the cities? How large are they? What are they called?

Take inspiration from real countries

You can draw from the real world when imagining these aspects of your fantasy world. For example, Leigh Bardugo’s Grishaverse takes inspiration from the geography of a number of real-world countries, often at another point in their national history. You can find analogs for Tsarist Russia, the Dutch Republic, China, and Scandinavia in Bardugo’s books.

As well as drawing from the past, another approach could be to imagine a future iteration of our world. NK Jemisin’s Broken Earth trilogy is a masterful example of speculative worldbuilding. The trilogy takes place on a supercontinent called the Stillness, which is wracked by massive climate events every few centuries which reshape the entire world’s geography. Colson Whitehead’s Zone One is set in the familiar but decimated remains of a future New York, a cityscape that has been devastated by a zombie apocalypse.

Maybe set your story in two different places

Another possibility is to create a dual setting, locating your narrative in part in our own physical world, and in part in another. Erin Morgensen’s The Starless Sea tackles this expertly, using the classic “magical door” trope to connect her real-world locations (Vermont and New York) with her fantastical world, the honey-filled Starless Sea and the magical harbors that sit upon it.

Imagine an entirely new environment

You may, of course, wish to create a landscape entirely alien from our own. Frank Herbert’s Dune is set on the desert planet of Arrakis, a world entirely devoid of natural water and inhospitable to most forms of life. Noteworthy exceptions to this are sandworms, giant and dangerous worm-like creatures that Fremen, the planet’s inhabitants, have learned to ride.

Lots of fantasy readers like referring to a physical map when imagining a world that is unlike our own. Maps are not always necessary, but they’re a useful foundation to define a sense of distance and space — and they can help you visualize your world as you’re building it.

Draw a map to help the reader

For a personal and expert approach, it's definitely worth hiring a professional illustrator to develop your fantasy map. Here at Reedsy, we have rigorously curated the best freelance illustrators in the publishing business — and they're just a click away from helping your work stand out.

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Now that your physical landscape exists, let’s drop some people into it. To create a textured and believable setting, you’ll want to populate your planet with a variety of races and cultures — which can be either created, or based on real-world cultures.

You may wish to pull species from the rich traditions of high fantasy (elves, dwarves, trolls, etc), but you can also invent entirely new races. Our worldbuilding template will help you nail down the details of your inhabitants.

Be careful with tropes and stereotypes

Make sure to research thoroughly before settling on any attributes or characteristics for your characters. Even in the imagined worlds of fantasy and science fiction, harmful stereotypes can be perpetuated, especially when drawing on real-world cultures. 

Some research is therefore required to ensure you are handling your source material in a respectful way, and to avoid retrograde stereotypes when portraying the characteristics of imagined races (including “classic” fantasy characters like dwarves, which have long been influenced by antisemitic tropes).

An example of real-world cultures informing fantasy cultures is the setting and characters of Children of Blood and Bone. Author Tomi Adeyemi draws on African mythology and her own Yoruba heritage , setting the story in a fictional version of pre-colonial Nigeria. Her imagined country, Orïsha, is inhabited by two peoples; the magical divîners with distinctive white hair, and their non-magical oppressors, the kosidán.

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Invent an alien species

Of course, your characters don't need to be human. Octavia Butler’s Xenogensis series is an example of an invented non-human race. In the series’ first installment, Dawn, a human woman Lilith awakens alone in a prison cell, only to learn that she is one of the last survivors of the human race. She has been abducted by the Oankali, a humanoid but thoroughly alien three-gendered species covered in sensory tentacles. The differences between the humans and the Oankali, and the Oankali’s unusual biology and reproduction, form the driving force behind the novel’s plot.

Come up with a new slang or language

When we talk about invented languages in fiction, most of us might imagine devotees of Tolkien whispering Elvish love poems — or Star Trek fans barking threats in Klingon. But language is something that applies to books across the board. Your decisions here will affect how the story develops and can make the difference in whether your book is believable.

Languages can be an interesting and exciting avenue of worldbuilding. The spoken word is a reflection of the cultures that spawned them, and the evolution of the language will often indicate some societal change. 

For example, the youths in Anthony Burgess’ 1962 novel A Clockwork Orange speak a dialect called “Nadsat” which mixes Russian and English words. That choice alone implies a lot about the dystopian world of the book, suggesting a future where Soviet culture had spread further West.

Our worldbuilding guide will help you develop your ideas about language, but as a start, it's worth considering how many languages are spoken in your world, which language is most prevalent, and any common phrases or greetings which might come up a lot. 

If your story is set on Earth, you can play with idioms and slang to create a unique dialect for your characters, that sets your fictional world apart from our own. Writers of historical fiction will also want to pay close attention to dialect, to ensure that any vocabulary being used is authentic.

So while language building isn’t essential, any little details like these that you can add to your worldbuilding will help create a richer and more immersive setting for your story.

Civilizations are defined by their history. That might be a very broad statement — but it contains a kernel of truth. Writers should have a solid grasp on the history of their world, regardless of genre, and should be familiar with the key events that matter to the story they’re telling or the culture they’re exploring. So, how can you go about this?

Once again, a popular way to flesh out the history of your world is to borrow from our own. The line between historical fiction and fantasy is somewhat blurred, and with good reason. A good fantasy world will have a history that’s every bit as interesting as the one we have here on Earth Prime, so why not draw inspiration from it?

Going back to A Song of Ice and Fire , Martin famously patterned his book's central conflict after The War of the Roses. Using a veiled version of English history as his starting point, Martin then fills in the rest of his rich history with dragons, mad kings, and ice zombies. Similarly, RF Kuang’s The Poppy War is a fantastical reinterpretation of 20th-century China, and contains a fantasy drug-driven conflict inspired by the real-world Opium wars.

Speculate on history-altering moments

Let’s say you’re dealing with a futuristic version of our reality: there’s still plenty of work to be done. You need to have some idea of what’s happened between now and the time when you set your book. Start by speculating on developments in technology and society. Then, crucially, figure out how these changes have affected the characters and cultures in your book.

If your book is an “alternate history”, it may stem from a single “what if” question. Think of a single point of divergence: a moment in history that shifted ever-so-slightly, leading to changes that ripple forward through time.

In Philip K. Dick’s The Man in the High Castle , the point of divergence comes with the assassination of President Franklin Roosevelt in the early 1930s. It results in a continuation of the Great Depression and American isolationism, allowing Germany and Japan to win World War II. The book then answers the question: “What would 1960s America be like if the Allies lost the war?”

Perhaps the defining feature of any SFF book is its systems, whether they be magical or technological. It’s important to consider the details of how these things work carefully; just waving your hand and saying “and there’s magic” won’t cut it. You’ll have to define the magical or supernatural elements of your world.

With both science fiction and fantasy worldbuilding, you’re likely to come across the phrases “hard” and “soft” frequently. These labels are a (somewhat arbitrary, but still helpful) way of distinguishing between different types of SFF. Let’s take a look further, so you can decide where your world falls on the spectrum.

Spell out the rules of hard magic

A hard magic system is one defined by its rules, and which has clear and explicit boundaries on when said magic does and doesn’t work, and what the consequences of using magic are. 

A great example of this type of magic system is Brandon Sanderson’s Mistborn series, set in a world where the primary form of magic is allomancy : a system whereby users swallow different metals, and metabolize them to different effects. Dedicated fans have been able to catalog all the possible variations of allomancy, and have discovered a clear cause-and-effect relationship between the actions of allomancers and their consequences, making for a true hard magic system.

As you can imagine, designing a hard magical system is a pretty significant undertaking that may involve a lot of variables. For that reason, it’s often worth dedicating a good chunk of your worldbuilding time to making sure your system is watertight.

Play with mystery and soft magic 

You can choose not to explain how magic works and allow it to retain some of its mystery. After all, as soon as you explain all of magic’s secrets, it almost ceases to be magic.

One example of a “soft” magic system, one which doesn’t have hard and fast rules, is the one in Belgariad . The sorcerers in David Eddings’ Belgariad manifest their willpower through a system he calls ‘The Will and the Word’. It doesn’t require any potions or scrolls , and the so-called “rules” are able to be broken. As such, the limits to magical powers in this world are more conceptual than they are practical, and you’d be hard pressed to describe exactly what can and can’t be done.

While the flexibility of a soft magic system may be appealing — after all, you can’t break a rule if you haven’t established it — it certainly isn’t a get-out-of-jail free card. If you have an ‘anything goes’ approach to magic, your characters’ actions may cease to have consequences: you can bring anyone back from the dead, time can be reversed, your hero can escape from danger just by ‘magic.’ Be sparing with your use of soft magic, and don’t use it as a deus ex machina that miraculously solves your plot issues.

Explain how magic impacts the world

As well as defining the rules of your magic system, consider what it means to have magic. What are the consequences on both your world and the people using it? Maybe it takes a physical toll on the user, or perhaps there are emotional, mental, or social implications to exercising magic.

Who can use magic? If your protagonist is the only person with their gift, how does the world around them react to it? Are they revered or reviled for their abilities? 

Conversely, what happens if someone who should have powers, doesn’t? For example, in Codex Alera by Jim Butcher, the people of Alera bond in childhood with one or more "furies" — elementals of air, water, fire, earth, wood, or metal. Everyone, save the protagonist Tavi who happens to be the crown prince of Alera. This lack of bond comes to have major consequences as noblemen around him begin to eye his ultra-powerful father’s throne. 

If, as in Codex Alera , magic is widespread, how do people learn how to use it? Trudi Canavan’s Black Magician trilogy has a Magician’s Guild, where people work their way up through a structured hierarchy. Wizards in Harry Potter attend boarding school and end up with soul-crushing jobs in magical middle management. By imagining how magic would function practically in your world, your book will become all the more believable and relatable.

Now that we’ve discussed magical systems, it’s time to turn our attention to science…

Be precise if you use hard science

This is a brand of writing with a particular basis in technological fact. Best known for his work on  2001: A Space Odyssey , Arthur C. Clarke is one of the greatest pioneers in this field, whose fictional inventions bear close resemblance to everyday items in the 21st century.

One great contemporary example of the hard science is Liu Cixin’s The Three-Body Problem , a novel which explores a real-life phenomenon in orbital mechanics, and imagines a three-star system containing a single Earth-like planet which experiences extreme destruction as it passes between the three. 

The important point is this: if you choose to write about technical science and technology, you should get your facts right. Many fans of the genre will likely know more about science than you do. If you get the details wrong, they will call you out on it; take for example Larry Niven, who was mercilessly teased by readers for having a character in Ringworld teleport eastward around the Earth to extend his birthday, when doing so would have actually shortened it.

You can always seek advice: the internet is a wellspring of information. If you’re shy about contacting people, Wikipedia is not a terrible place to start your research.

..or give yourself some slack with soft science

We know what you may be thinking — “Dammit, Reedsy, I’m a writer not a physicist!” If you’re not exactly science-minded but still want to write in the genre, you can always take the lead from writers like the late Iain M. Banks. His beloved science fiction novels are about The Culture, a post-scarcity society where all work is automated, and the citizens leave all the big decisions to a benevolent A.I.

Banks’ universe is full of science fiction tropes like droids and spaceships — but he doesn’t really explain how any of it works. It makes perfect sense from a storytelling point of view: novels set in the modern day rarely explain how iPads work. To us, they’re simply a function of everyday living. Banks makes a conscious decision to focus on story and character and he proves that you don’t need to know much science to write great science fiction.

Whether you go hard or soft, it’s important to establish your system ahead of time, so that you can remain consistent and logical throughout your work. Knowing how involved you want your systems to be will also mean you can plan how and when to deploy your exposition to maximum effect.

It may not sound too exciting, but considering something as fundamental as the economics of your world can be extremely helpful in making it a believable one. This isn't essential, but having an understanding of the economy can help you imagine how your characters will move through the world.

Take, for example, Anne McCaffrey’s iconic fantasy series, Pern . While the dragons are probably what most readers come away remembering, those who play close attention to the mechanics of the world are rewarded with a fascinating system to wrap their heads around. In Pern, the wooden tokens used for trade, “marks”, hold no intrinsic value – they don’t correspond to, for instance, a measure of precious metal, but are simply worth what they are traded for. So, your mark may be more or less valuable, depending on simply how well you are able to haggle to trade it.

Your economy may also be a speculative one, like the post-scarcity economy in Iain Banks’ Culture series. The series explores the implications of a world where most goods can be produced abundantly with minimal or no human labor, something Banks describes as “space socialism”.

As a minimum, it’s good to consider what the main valuables are in your world,  how trade takes place (is it a barter system? Do people trade with money?), what the currency is called if there is one, and where your heroes come in the financial pecking order.

As well as creating the history and economy of your world, you may also want to consider other institutions and power structures, such as religions, governments, or political ideologies. Again, this might be drawn from reality: Philip Pullman’s His Dark Materials series features a society dominated by the Magisterium, a religious body modeled in part on the real-world Catholic church. 

You might also want to borrow from the past, like the feudal system of Dune, or extrapolate into the future, like the theocratic, totalitarian state of Gilead in Margaret Atwood’s The Handmaid’s Tale.

It’s worth reminding ourselves that stories set in other worlds have always actually been about the world we live in. Some of the most enduring works of science fiction and fantasy are profound commentaries on human culture and, in particular, our relationship to power and powerlessness. So even if your story takes place in a galaxy far far away, always remember to ask yourself what are you trying to say about society or the human condition and try your best to be intentional with how you use real-life source materials.

And with that final point, it’s now over to you: remember to download our free worldbuilding guide for tips on how to create your own fantastic lands and customs. We can’t wait to see your brave new world. Qapla'!*

*Klingon for “good luck”

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From Narnia to Neverland, literature is filled with fictional realms. There are High Fantasy worlds like Middle-Earth or Westeros , where everything is vaguely medieval and vaguely European (but also sometimes there are dragons). There are Urban Fantasy worlds, where goblins and whatnot lurk just beneath the streets of real life London and vampires pick off tourists in dark alleyways. There are whole entire Science Fiction galaxies, where interstellar empires rule and every planet seems to consist of just one biome for some reason. There are, in short, a lot of different directions to go in if you want to build a fictional world of your own. Here are a few tips to get you started.

You may think that fiction is fiction, and you can just start coming up with whatever and call it a fantasy world. And... technically, you are correct. Go nuts. But if you're trying to write a book or a TV show or a Dungeons and Dragons campaign, you're probably going to want to share your fictional world with other people at some point. And they're going to like your story/script/10 straight hours of role-playing a whole lot more if you stick to just a few simple rules for building a creative, fully-realized, comprehensible world:

Pick a Starting Point

It may sound obvious, but pick a tone to start with. Is this going to be a goofy adventure full of talking dragons and subverted fantasy tropes, or a gritty alternate reality where every third baby is turned into a cyborg? Will you have magic? Is it based on our real world with a few tweaks, or set in a wholly different plane of existence? Before you start fiddling with maps and made up languages, you're going to need a general idea of what genre (or mix of genres) you're most interested in messing with.

Write Some Rules

Yes, fantasy worlds are fun because they're not bound by our own laws of reality. But you still need some laws of reality, even if you made them up. Write out a few core rules for this world. Perhaps magic exists, but it always costs a terrible price. Maybe humans still can't breathe in space, but vampires can. There could be time travel in this universe, but no way to actually change the future. Pick your own brand of logic, and then stick to it as much as humanly possible.

Avoid “One Hat" Aliens

If you're crafting a whole fantasy world (or solar system), you're probably going to have a few different races and cultures. Please, please try not to boil any race down to one single hat. Give them more than one trait. If you want to make a species of bloodthirsty cat aliens that's fine, but what's their music scene like? Do some of them enjoy knitting? Do they have different political factions based on the legalization of cat nip? No one culture should be a monolith, even in fiction.

Please Don’t Make Caricatures of Real Cultures

As you try to craft nuanced, multi-dimensional cultures for your fantasy realms, you may be tempted to draw inspiration from real world cultures. Please do so carefully and respectfully. Representing diverse characters is a great thing. But if you realize that all your main characters are noble and coded as European, and all your villains are warlike and riding fantasy elephants and vaguely Middle Eastern, you have made a terrible mistake (I'm looking at you, Tolkien and everyone who copied Tolkien).

Become a History Buff

No, you don't need to read all of actual history in order to make up a fictional history. But unless your world is brand new, you should probably think about the broad strokes of your world's past. Have there been enormous empires in this world? Long periods of peace? Legendary queens? Look to real world history if you feel stuck, and remember that the past is long and full of weird surprises.

Walk Through a “Day in the Life”

OK, so your story is set on the planet of Gondolier, in the city of Tol-Ki'en. Great. What does a typical day look like there? What do the inhabitants eat for breakfast? How present is the government in people's day to day interactions? What does a polite local greeting look like? Is there nightlife? Do kids go to school? What are some common vocations? Decide what daily life looks like for this society before your plot gets in there is ruin it all.

Find Real Life Inspirations

Again, and I want to stress this point, do not take a real world culture and give them pointy ears. That's not good writing. But do look to music, art, cities, and landscapes that interest you for inspiration. Do look up customs from a variety of civilizations and think about how they'd work in the present day. Do look at actual biomes and start asking things like, "If all these tree could talk, how would that change the environment around here?"And of course: do your research, talk to people, get sensitivity readers.

Do Research, Write Lists

Lists are your friend. Make lists of common names in your world. Make lists of town names and good reference websites you find. Seek out indexes of plant names and gem names if you need some fantasy-sounding nonsense in a pinch. Basically, you can never have too many extra lists lying around.

Some people are more into maps than others. If you feel called to create a fantasy map and fill in every last village and valley, go for it. If you're not so into fussing over the details, just jot down a few notes about how far things are from each other. Either way, have a sense of space and terrain before you start with the actual story.

Become a Linguist

You don't have to create a whole fantasy language if that doesn't sound like fun to you. But if you're going to go for language-making, or if you just want to come up with a few fantastical names, take a moment to come up with a few core fantasy vocab words, and then start thinking about how those couple of root words can be used in different combinations to create new meanings entirely.

Don’t Info-Dump

You know all the secret nooks and crannies of this world. But your characters probably don't. Make sure that your characters don't want around spouting facts about the founding of their city and the ecological make up of the Enchanted Forest to the North. Let your readers or listeners learn about this world gradually as they explore it, rather than through huge chunks of exposition.

Think About Cause and Effect

Ask a lot of "What If?" questions. What if this country had never been colonized? How would that affect the culture and technology? What if everyone had a magical animal soul-companion? Would their theology look different? What if we had superheroes, but they were always smashing up cities in their big fights? Even if you're making on small change to the real world, it could have massive ramifications.

Get Specific

Sure, you know what your magical tavern is called, but how does it smell? Your forest may be haunted, but what shade of green are the leaves? What are the dominant tastes in the local cuisine? Get specific about your descriptions so you can evoke a real, lived in place, not just a carbon copy of someone else's world.

Figure Out Why Your Story is Happening NOW

Why NOW? Maybe tensions have been rising on your continent for decades, or maybe a strange has turned everything upside-down in this small town. Whatever it is, decide why NOW is that time in your world's history that best serves your story.

Love Your World

Create a world that you're excited about, even if that means ignoring most of these tips altogether. If you don't love your world, than neither will your readers. Find the quirks and details that make this world so very you, and try not to feel constrained by copying the fantasy realms that went before. This one's all you.

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• Fiction Writing

How to Write About a Fictional City

Last Updated: October 5, 2022 Fact Checked

This article was co-authored by Stephanie Wong Ken, MFA . Stephanie Wong Ken is a writer based in Canada. Stephanie's writing has appeared in Joyland, Catapult, Pithead Chapel, Cosmonaut's Avenue, and other publications. She holds an MFA in Fiction and Creative Writing from Portland State University. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 96,211 times.

Writing about a fictional city can be a difficult challenge. We all know that real cities are sections of land with a population. But in order to create a fictional city and use it in a story, you will need to access your imagination and focus on the details of the city to get it right.

Looking at Examples of Fictional Cities

• The fictional city of Basin City or Sin City in Frank Miller’s Sin City .
• The fictional city of King’s Landing in George R. Martin’s A Game of Thrones .
• The fictional city of Oz (The Emerald City) in L.Frank Baum’s The Wizard of Oz .
• The fictional city of The Shire in J.R.R. Tolkien’s The Hobbit .

• Most fictional cities are described using a map drawn by the author or by an illustrator working with the author. Examine the maps provided of the fictional cities and notice the level of detail that is put into the maps. For example, the map provided in J.R.R. Tolkien’s The Hobbit includes the names of places in the language of the novel as well as major landmarks and structures in the fictional area.
• Look at the naming of the areas or streets in the fictional city. The names in a fictional city can carry a lot of importance, as the names come to symbolize certain aspects of the world of the book. For example, the naming of “Sin City” in Frank Miller’s Sin City graphic novels indicates that the area is known for its sinful inhabitants. The name tells the reader something about the area and what to expect from the characters that live in the area.
• Note how the author describes the city. Does she use certain descriptions to characterize the city? In The Game of Thrones by George R. Martin, for example, King’s Landing is described as dirty and smelly, but it is also the seat of the throne. These descriptions create an interesting contrast for the reader.

• Creating a fictional city will also allow you to use elements of a real city you know well, such as your hometown, and twist them around so they become fictional. If you are very familiar and comfortable in a certain real-life area, you can then use what you know and change them slightly to create a fictional world.
• Creating a fictional city will also improve your writing overall, as the more believable your city is in your book, the more believable the world of your book will be to readers. Making a convincing fictional city will strengthen your characters as well, as you can shape the city to fit with the actions and perspectives of your characters.

Creating the Basics of the Fictional City

• You may choose a name that feels generic and sort of “every small town” if you want your story to have a more universal feel to it. A name like Milton or Abbsortford, for example, does not tell readers too much about the town other than it is likely small and in North America. Avoid using a name like Springfield, as this immediately makes readers think of The Simpsons, which may not fit with your story.
• Consider a name that fits the region or area where your fictional city is located. If your city is located in Germany, for example, you may select a German name or a German term that could also function as a name. If your city is located in Canada, you may select a Canadian city that exists and change the name slightly to create a fictional name.
• Avoid names that seem obvious, such as Vengeance or Hell, as the reader will be alerted right away to the meaning behind the name. The use of obvious names can be effective if the town acts in contrast to the name. For example, a town named Hell that has the nicest, most pleasant townspeople.

• Who founded the city? This could be a lone explorer who stumbled on the land or Native peoples who built up the city piece by piece using basic tools. Think about the individual or individuals responsible for founding the city.
• When was the city founded? This can help you get a better sense of the development of the city, as a city founded 100 years ago will have a denser history than a city founded 15 years ago.
• Why was the city founded? Answering this question can help you better describe the city’s past. Maybe the city was founded through colonization, where a foreign explorer claimed the land and colonized it. Or maybe the city was founded by people who discovered empty land and built it up on their own. The reasons for the city’s existence will help you get a better sense of your characters, as they may have personal ties and connections to the city due to how the city was founded and why it was founded.
• How old is the city? The age of the city is another important element. An older city may have city planning details that have been preserved, while a newer city may have very few old buildings and an experimental approach to city planning.

• You should also think about the climate of the city. Is it hot and humid or cold and dry? The climate may also depend on the time of year when your story is taking place. If your story takes place in the middle of winter in a fictional town located in Northern California, for example, it may be warm during the day and cooler at night.

• Consider the racial and ethnic groups in your city. Are there more African American individuals than Latinos or Caucasians? Do certain ethnic groups live in certain areas of the city? Are there areas where certain ethnic groups are not allowed or feel uncomfortable being in?
• Think about the class dynamics in your city. This could mean a character who is middle-class lives in a certain area of the city and a character of an upper class lives in a more lavish or expensive area of the city. Your fictional city may be divided by class, with certain areas off-limits to all classes except for one class.

• You may also notate landscape details, like a mountain range that borders the city or sand dunes that protect the city from the outside. Try to add as many details as possible, as this will help you build a more convincing fictional world.
• If you have a friend who is talented at illustration, you may ask them to help you draw a map of the city in more detail. You can also use online resources to help you build the map. Use a program like Photoshop, for example, to cut and paste images from the internet to create a map or a physical representation of the city.

Adding the Specifics of the Fictional City

• You should also think about what the town is known for, according to the outside world. Maybe the city is known as the center of commerce or has one of the most renowned sports teams.
• Consider what locals love or enjoy about the city, as this will make it feel more unique. What are the hotspots and cool hang out areas in the city? What are the locals proud of in terms of their city and what are they ashamed of or afraid of in their city?

• For example, maybe your character spends a lot of time at the private school located in the city center. Take the time to think about small details of the school, from how the building appears within the surrounding area to the school colors and the school mascot. Focus on the area around the school and the layout of the school, including classrooms and areas your character spends a lot of time in.

• For example, maybe your city has a polluted river that runs through the area. Think of how it smells as you walk by the river. Have your characters comment on the stench of the river and the way the river looks or sounds.
• Your story will likely involve several locations or settings that recur. Focus on using the five senses to describe these recurring settings well, as this will help the world of the story feel more convincing.

• For example, your characters may spend time in a dense urban area in the city. The area may be populated with strange creatures and monsters but it may also have elements you may find in a real-life urban area, like buildings, streets, and alleyways. Having real-life details and imagined details together can make it easier to build a believable world.

• For example, if you have a character who needs to access a magical portal in the middle of the city to time travel, you should make sure the magical portal is described well in the fictional city. The magical portal should contain enough detail to be believable and your character should interact with it in an interesting way. This will ensure your fictional city is supporting your character’s needs and goals.

• Place your character in a situation where she has to walk around or interact with a certain section of the city. Or, have your character use a facility in the city that then allows her to describe how it feels to use the facility. This will give you the opportunity to have descriptions of the fictional city through the perspective of the character, which will feel more believable and convincing to the reader than simply telling the reader about the facility.
• You should also have your characters treat the more fantastical or strange elements of the fictional city casually and in a straightforward manner. If your fictional city is located under water, for example, a character who has lived in the city for a long period of time may not be surprised that he has to get in his submarine to visit with his neighbor. You can describe the character getting into the submarine and programming it for its destination in a casual, everyday kind of way. This will signal to the reader that submarines are common in this fictional city and used as a form of transportation without having to directly tell the reader that this is the case.

Community Q&A

You Might Also Like

• ↑ http://www.complex.com/pop-culture/2011/10/the-50-coolest-fictional-cities/
• ↑ http://thewritelife.com/worldbuilding/
• ↑ https://scottwrites.wordpress.com/2009/10/20/how-to-create-your-own-fake-town/
• ↑ http://www.springhole.net/writing/town-and-city-questions.htm
• ↑ http://io9.gizmodo.com/7-deadly-sins-of-worldbuilding-998817537
• ↑ http://terribleminds.com/ramble/2013/09/17/25-things-you-should-know-about-worldbuilding/

About This Article

To write about a fictional city, first think of a name that reflects your story world. For example, if your city is in Germany, you might use a German word for your name, or if it's in Canada, you could take an existing Canadian city and change it slightly. Next, write a historical record including details of why and when your city was founded. Then, write a description of your city to create a sense of its atmosphere, climate, and terrain. Finally, draw a map of your city, including major landmarks and where your main characters live and work. For more tips from our Creative Writing co-author, including how to add specific details, read on! Did this summary help you? Yes No

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Build It and They Will Come: How to Create a Fictional World

Worldbuilding is the subtle backbone of your story. It won’t make or break your novel like the characters or plot might, but it’s necessary for building a believable setting that your readers will embrace. If they’re distracted by inconsistencies in your setting then they might have a hard time focusing on the story. And we don't want that.

There are also certain readers (namely epic fantasy types) who live for worldbuilding and want to know as many details as possible about your made-up world. You might hear people refer to books written in alternate realities as “second world” settings as opposed to ones that mirror our reality here on planet Earth. 

Worldbuilding isn’t just for those writing fantasy or sci-fi, though. Even if your book is set in a contemporary world, you need to ensure the rules and principles of your world are followed. 

This can be especially important in a contemporary setting because they’re often based on real places. And you better believe that if you get the street intersection wrong at a random corner in Denver, someone from Denver is going to call you out on it. 

There are three general types of worldbuilders:

• The kind that spend months and even years constructing every facet of their world from agriculture, to politics, to history before they ever write a word. 
• The kind that gives very little to no thought to it beyond a vague notion in their head and then builds the world to suit their story. (Hi, this is me.)
• And lastly, the kind that falls somewhere in between those extremes. 

Whatever method works for you, you’ll still want to ensure you’re covering a few basics to ensure consistency. 

In this article, we’ll cover: 

• Questions to ask yourself about your world
• Tips for effective worldbuilding

Questions to Ask Yourself About Your World

Below is a list of questions to get you started on building your world. Grab a notebook, write the question at the top of the page, and start jotting down bullet points to help define your answers. If you’re a Dabble user, you can use Notes in the pre-generated Worldbuilding folder to do this so all that rich detail you created is there at your fingertips when you go to draft and edit your novel. 

What’s your starting point? 

Start by defining your world in the broadest strokes. Will it be based on a real-world setting? Or are you starting completely from scratch? What general characteristics will it have? Is it set in the future or the past? Or maybe its timeline has no bearing whatsoever on the world as we know it. 

What’s the tone of your world? 

Are you writing a gritty mafia romance set in a fast-paced underworld? Are you writing a fun and fluffy cozy fantasy where things are generally peaceful? Do you want your world to be part of the plot? Is something happening within it that drives your characters to act? 

Design your world so that it matches the tone of your novel. This allows your readers to fully immerse themselves into the story. 

What are the rules of your world? 

This is an important one. If your setting is real life, then you’re going to have to obey real-life rules unless you can give the reader a very good reason why you’ve chosen not to. Nothing pulls a reader from a story faster than someone saying to themselves, “Yeah, that’s not possible.”

If your setting is made up, you still need rules. Does the sun only rise on the fourth day of the month? Do witches have magic that no one else can access? Are vampires allergic to moonlight instead of sunlight? Once you establish a rule in your world, you need to follow through on it. Deviations from those rules need clear reasons why. 

What cultures make up your world? 

If you’re writing a contemporary story, this is probably fairly straight forward. If it’s set in modern day New York, then your cultures are the same ones that make up modern day New York. However, if you’re writing an alternate world, then you’re likely defining cultures to suit your purposes. 

If you’re creating your world, this can be a bit trickier. If it’s fantasy, you might have races of elves, dwarves, and orcs. If it’s sci-fi, then maybe you’ve got some kind of robot race or aliens to contend with. Or maybe you’re going to make up your own races entirely. 

It’s important to note here that if you’re going to draw real-world inspiration to create fantasy races, then do so very carefully. Especially if those races are based on Black, Indigenous or People of Color. Fiction is littered with harmful, stereotypical depictions of non-white cultures where the writer failed to do the most basic homework. Don’t be that person. And pay a sensitivity reader if you have even the slightest doubt. Do it anyway–because you don’t know what you don’t know. 

What is the history of your world? 

Here’s where you can get very in depth if you want, creating all kinds of backstories and legends and tales that make up your setting. Sometimes this information will be pertinent to your plot and sometimes it’s just inspiration for yourself. You can also just touch the surface and decide as much as you need to make your story cohesive. But give some thought to how your world began or how past wars or shifts in the political landscape might affect the current reality of your world. 

If you’re using a real-life setting, then you’ll need to dig in and do some research so you get the pertinent facts right. 

What are the structures of your world? 

There are some basic things you might want to consider that include things like:

The political landscape – Is your world a monarchy? A democracy? Who are the rulers or leaders? How are they chosen or deposed? 

Gods and religion – Does your world have one religion? Or many? Or none at all? Are there gods that people bow to or whose names they invoke? How big a part does religion play in the lives of your characters? 

Food and agriculture - Where does food come from in your world? Are there farmers? Is yours a city setting and they use a market? Is food easy or hard to come by? What about fresh water? 

Weather – What kind of climate are you dealing with? Is it always cold or hot? More moderate with shifts of seasons? Does it snow or rain a lot? Maybe it’s really windy all the time? 

Geography – Is your terrain mountainous or composed of fields ideal for growing crops? Is it a valley or sitting on a floodplain? Is your setting urban or rural? Or maybe it’s just the middle of the jungle with no reference to anything else at all. 

Trade and resources – What kind of resources can be found in your setting? Gold? Jewels? What powers economic trade in your world? Does it feed your world or are you destitute? Is your character involved with it? 

Transportation – How do people get around? Are you a horse-using culture? Are there proper roads? Or just paths through trees? Maybe your people use dragons to traverse the countryside. 

Tips for Building Your World

Looking at the questions above, that’s a lot of things to consider. If you’re having trouble coming up with some of the answers, try some of these tips for getting inspired and getting deeper into your setting: 

Do a Walkthrough

Live life as your main character for a day. What do they wear? What do they eat and drink during the day? What chores do they do? Do they have a job? A family to care for? What is their house like? What is their neighborhood like? 

Make it a regular, mundane day and take note of all the things you want to remember when you’re writing your story. 

Use Pinterest

One of my absolute favorite world-building techniques is to go on Pinterest and sift through the thousands of stunning photos. Start by entering a vague description like “castle tree” and let it take you on a wild ride. The rabbit hole is deep, my friend. 

I love to build boards specific to each book where I can save everything I find and refer back to it when I need a bit of a nudge while I’m writing. 

Use Real Life

Similarly, consider reading historical books or watching documentaries about other places and time periods. But don’t forget to be mindful of how you depict certain cultures that aren’t ones you’re familiar with. But drawing inspiration from real life can help give your world richer details. 

Even if you don’t have any art skills, get out a big piece of paper and a pencil and draw a map of your world. What are the city names? Are there mountains? Rivers? Do you have roads between villages? Are there castles or walls to cross? Is it an island or a piece of a larger land mass? Does anything exist beyond the map? Or will you do what a lot of fantasy authors do and pretend that’s it? (It’s okay, no judgment. I do it, too.) 

If you need help with names, sites like Fantasy Name Generators or Name Generator can be very useful for this. 

Create a Language

Maybe it’s just a few words or maybe you want to go all out and generate an entire language for your world, but deciding on a few key phrases can help shape your world. If you’re feeling ambitious, we’ve got an entire article on how to develop your own constructed language or ConLang. Good luck. 

Don’t Infodump

When you’re describing your world in your book, resist the urge to share all of this wonderful information you’ve gathered. While you might be incredibly tempted to describe exactly how irrigation techniques in your world work, unless it’s relevant to your story, your audience doesn’t need to know. Save that for your blog or bonus content down the line. Ensure the details you share enhance your plot or have some purpose for being there. 

Also, try to resist pouring paragraphs of description into your prose. Sprinkle bits and pieces of your world throughout the narrative and, whenever possible, try to have one of your characters interacting with it instead of just telling your reader what’s there. 

For example, instead of telling us there were seven soup spoons on the table (let’s pretend this is very plot relevant), have your character sitting at the table, dubiously eyeing said soup spoons and wondering which one on earth they’re supposed to use. 

As you can see, there are so many things you can include to ensure your world is rich and inviting. Whether you’re the kind of writer who likes to set everything in place before you start drafting or you’re the kind of writer who prefers to worldbuild on the fly, Dabble helps keep all those notes organized. Not only that, they’re easily accessible in the sidebar, where you can refer to them while you’re writing so all those amazing details are right at your fingertips. 

The best part is you can try Dabble free for 14 days and see how it can help you write your best novel. 

Nisha J Tuli is a YA and adult fantasy and romance author who specializes in glitter-strewn settings and angst-filled kissing scenes. Give her a feisty heroine, a windswept castle, and a dash of true love and she’ll be lost in the pages forever. When Nisha isn’t writing, it’s probably because one of her two kids needs something (but she loves them anyway). After they’re finally asleep, she can be found curled up with her Kobo or knitting sweaters and scarves, perfect for surviving a Canadian winter.

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Fantasy Worldbuilding 101: How to Bring a Fictional World to Life

In this video, we discuss how to write a great fantasy novel through advice from some of the most well-known fantasy authors—particularly, George R. Martin and J.R.R. Tolkien.

Fantasy novel writers are responsible for taking readers on an unforgettable journey. Their pages must be filled with compelling characters and riveting plot twists. Their words must have the power to penetrate the heart. Their themes must strike a balance between good and evil.

When done correctly...readers feel like they are right there in the middle of adventure...alongside the characters.

First, we discuss Martin's definition of fantasy. He is best known for his series of epic fantasy novels, A Song of Ice and Fire and is the inspiration behind HBO's Game of Thrones series. He speaks of including tastes, touch, sounds and sights into the world you build.

Next, we go over how to create an in-depth sketch of the fictitious word. Adding these small details to your story will help your reader feel acquainted with the world you are building, especially if it is different than the real world.

Then, we go over questions that will help you pinpoint key details:

• What is your world's history?
• What is its geography?
• Is the planet similar to Earth?
• Is there more than one sentient species?
• Does everyone speak the same language?
• Does magic exist in your world?

Be sure to give this video a 'thumbs-up' and subscribe to our channel for more great videos on writing and publishing your work, grammar tips and more! See you next time!

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Understanding our world: speculative fiction through the ages, exploring the storied history of speculative fiction from the age of antiquity to the modern day. plus, we offer tips on how to write it.

Table of Contents

A multiverse of possibilities may spring to mind when considering the term speculative fiction , from dragons soaring over verdant meadows to massive starships exploring the cosmos.

By contemporary reckoning, it comprises many genres and has a lineage that far predates its name.

To better understand speculative fiction, let’s go on a journey through its rich history and discover what its exciting future may hold.

What is Speculative Fiction?

Defining speculative fiction can sometimes be as challenging as slaying our aforementioned dragon.

Some have considered it science fiction that focuses on the human condition. This fiction proposes events that are possible, but that have not happened.

It is also an umbrella term for any fiction that is not constrained by our understanding of reality.

Exploring this evolution is important for us to understand that speculative fiction has changed and continues to change over time. Tomorrow, it may not mean exactly what it means today.

Origins of Speculative Fiction

Robert A. Heinlein, the author of Starship Troopers , coined the term in his 1947 essay “On the Writing of Speculative Fiction.”

He defined it as a story where we imagine new scientific realities and consider the challenges humanity may face as a result, then explore “how human beings cope with those new problems.”

Speculative Perspectives

Margaret Atwood, the author of The Handmaid’s Tale , proposed another definition in the 1980s. Unlike her predecessor, she contrasted science fiction and speculative fiction.

Atwood has described speculative fiction as being stories that explore theoretical situations grounded in what is possible. In her own work, she speculates on sociopolitical circumstances that could very well happen today.

Contemporary Speculative Fiction

The contemporary understanding of speculative fiction differs from these definitions but does not exclude them. Rather, it includes much more.

We use the term today to encompass all fiction not quite grounded in reality. Some refer to it as a "mega-genre" or "super-genre."

Characteristics of speculative fiction include visits to fantasy worlds, magic and the supernatural, undiscovered scientific principles, and even encountering extraterrestrial life.

These stories contain elements that...

• Could not possibly occur: In other words, certain events, objects, characters, or situations are not real and could never be.
• Have yet to occur in the future: These stories explore the possibilities brought forth by advances in technology.
• Did not occur in the past: Authors rewrite fictional histories by posing the question, "What could have been?"

Essentially, speculative fiction stories speculate beyond humanity’s knowledge of reality contemporary to the writing of the story.

Genres of Speculative Fiction

As a mega-genre, speculative fiction includes a massive range of genres and subgenres. Science fiction, fantasy, and speculative works of alternative history all fall within its scope.

A sizable portion of horror fiction and certain subgenres of literary fiction such as magical realism can be considered speculative fiction as well.

There are also stories that don’t fit neatly onto these shelves, but most definitely qualify as speculative fiction. What all these have in common is a yearning desire to ask, “What if?”

Let's look at these in more detail.

Science Fiction 🚀

Speculating on what may yet happen, science fiction explores possibilities the future may hold.

Common elements of this genre include space travel, time travel, dealings with alien life, technological advancements, and the repercussions of alterations to our reality, ranging from socioeconomic policies to climate change.

A story set in the author’s contemporary reality can qualify as science fiction with even minor speculation, such as exploring the potential impacts of artificial intelligence research in the near future.

Science fiction is itself another super-genre, encompassing subgenres such as space operas and military sci-fi, post-apocalyptic and dystopian fiction, and cyberpunk fiction (just one of many types of futuristic punks).

Incorporating elements of the fantastic, magical, or supernatural, fantasy delves into the impossible or improbable.

These stories range from familiar settings with magical elements to entirely new worlds created by the author.

Within fantasy fiction, you’ll find magic (of course), fictional creatures, myths come to life, and tangible representations of the supernatural—often in the form of deities meddling in mortal affairs.

Yet another super-genre in its own right, fantasy includes a wide range of subgenres including sword and sorcery, epic or heroic fantasy, dark and grimdark fantasy, mythology and fairy tales, and gothic fiction.

Alternate History ⏳

This genre takes a more grounded approach to speculation, turning an eye to the past and reimagining entire histories. The departure from reality is more subtle, exploring the ramifications of fictional outcomes to real historical events.

These stories explore worlds where empires didn’t fall, wars had different results, and hypothetical revolutions changed society.

The alternative history genre is also known to explore retrofuturism, where modern or futuristic technologies are invented in the past using historically-appropriate methods.

Many punk genres—such as steampunk, dieselpunk, and atompunk—examine these ideas. They're considered alternate history as long as they remain grounded in realistic possibilities.

Some horror falls under the scope of speculative fiction, but not all of it.

When determining whether a horror story is speculative, focus on how likely the events of the story are to occur in the world contemporary to the author.

Let’s look at an example of a detective investigating a series of murders perpetrated by a cult:

• Are the cultists ordinary people that are just being extra stabby? That’s not speculating on anything.
• Are their rituals summoning an actual demon or raising an army of zombies? Are the cultists actually a secret coven of vampires? This would be speculative horror.
• In the case of futuristic sci-fi horror: is your cult a pack of mad scientists building an army of sentient robots or a doomsday device? This would also be considered speculative fiction.

Since quite a bit of horror fiction involves the supernatural or monsters, the portion that falls under the definition of speculative fiction is substantial.

Magical Realism ✨

While some think this genre better fits within the scope of fantasy, it is more widely accepted to be a form of literary fiction separate from the fantasy genre.

Magical realism blurs the boundaries between reality and fantasy. It focuses on the mundane and only adds subtle touches of the fantastic. In these stories, the fantastic elements are not the focus of the narrative.

Similar to how Heinlein first defined speculative fiction, these stories focus on how the added elements affect the characters . Often, the dash of fantasy in magical realism is used metaphorically to explore deeper ideas about the human experience.

The History of Speculative Fiction

Given the breadth of storytelling that falls within the range of speculative fiction, its history spans retroactively to the earliest civilizations.

From the dawn of humanity, we have gazed out beyond the horizon and pondered what might lie beyond our reach.

Speculating on the unknown has been an integral part of the human experience, from the first work of paleolithic cave art to the blockbuster films of today.

Though many of these works weren't actually intended to be "speculative" during the time periods they were written, we consider them as such today.

An Age of Legends: The Speculative Fiction of Antiquity

Some of the oldest and greatest works of literature in history contain speculative elements, many of them featuring legendary myths, fabled monsters, and pantheons of gods.

If you'll believe it, there was even a tale involving space travel, first contact with aliens, and interplanetary wars written during this time: Lucian’s A True Story (sometimes translated as True History ). Lucian wrote it as a satire, criticizing his contemporaries for the fantastical breaches of reality made in their own writing.

Here are just a few prominent works from the ancient and classical eras:

• The Epic of Gilgamesh (2500–1700 BCE, Sumer and Babylon)
• The Tale of the Shipwrecked Sailor (2000–1900 BCE, Egypt)
• The Iliad and The Odyssey by Homer (750–650 BCE, Greece)
• A True Story by Lucian of Samosata (2nd Century CE, Roman Syria)

Fables and Fairy Tales: Medieval Speculative Fiction

While historical chronicles, theological studies, and a burgeoning exploration of the sciences occupy most of Middle Ages literature, plenty of fantastic tales were told during this time.

Much of the folklore that inspired today’s fantasy came from this period, from the elves and dwarves of Celtic and Norse mythology to the mysticism of the Middle East. What follows are some notable pieces of speculative literature from this time:

• Beowulf (700–1050, Anglo-Saxon Britain)
• The Divine Comedy by Dante Alighieri (1308–21, Italy)
• The Canterbury Tales by Geoffrey Chaucer (1387–1400, England)
• A Thousand and One Nights (Various dates and sources)

The Rebirth of Reason: Early Modern Speculative Fiction

While the Middle Ages dabbled with science and reason, these concepts defined the Renaissance and the early modern age.

This was a time of renewed interest in the search for knowledge and understanding. Despite this, speculation beyond the bounds of our reality hardly waned during this period. Instead, it shifted to something akin to the speculative fiction of today: stories that attempt to analyze the real through a lens of the unreal .

Several seminal works from this era are:

• Utopia by Thomas Moore (1516, Habsburg Netherlands)
• Doctor Faustus by Christoher Marlowe (c. 1588, England)
• A Midsummer Night’s Dream by William Shakespeare (1600, England)
• The Chemical Wedding by Johann Valentin Andreae (1616, Germany)

A Time of Revolution: Speculative Fiction and Industrialism

Alongside the sociopolitical revolutions of the eighteenth and nineteenth centuries, literature experienced upheavals. With the wide dissemination of the printing press, literature proliferated amongst the population. This gave rise to the novel, which would serve as a primary form of entertainment for many.

Romanticism , a trend towards focusing on individual experiences and criticizing social structures, dominated the literary world. Gothic fiction also grew popular , incorporating elements of horror.

Finally, literature reacted to the scientific advances of the industrial revolution, inspiring the foundations of modern science fiction. Some notable examples include:

• Frankenstein; or The Modern Prometheus by Mary Shelley (1818, United Kingdom)
• “Mellonta Tauta” by Edgar Allan Poe (1849, United States)
• Journey to the Center of the Earth by Jules Verne (1867, France)
• The War of the Worlds H.G. Wells (1898, United Kingdom)

The Golden Age of Speculative Fiction: Reality Reimagined in the New Century

The early twentieth century ushered in troubling times. Two world wars and the Great Depression left people anxious about the state of the world. In response, many turned to fiction for an escape from reality.

Pulp fiction magazines boomed in popularity, appearing everywhere from newsstands across America to care packages on the battlefields of Europe. When the wars ended and economies began to recover, rapid technological progress inspired a sense of wonder about what the future could hold.

As a result, the early twentieth century is considered the Golden Age of Science Fiction, but other genres boomed (or were created) during this time. Here are just a few of the most influential examples of golden age speculative fiction:

• A Princess of Mars by Edgar Rice Burroughs (1912, United States)
• Metropolis by Thea Von Harbou (1925, Germany)
• The Call of Cthulhu by H.P. Lovecraft (1926, United States)
• Brave New World by Aldous Huxley (1932, United Kingdom)
• The Hobbit by J.R.R. Tolkien (1937, United Kingdom)
• 1984 by George Orwell (1949, United Kingdom)
• I, Robot by Isaac Asimov (1950, United States)
• Childhood’s End by Arthur C. Clarke (1953, United Kingdom)
• Fahrenheit 451 by Ray Bradbury (1953, United States)

On the Fringes: Speculative Fiction From the Space Age to the Age of Information

In the latter half of the twentieth century, speculative fiction remained an important part of our society, but many considered it to be a niche. The usually minuscule Science Fiction section of the bookstore often had fantasy and horror unceremoniously lumped in.

Likewise, cinema and television had a steady flow of offerings, but they rarely dominated the culture—with the release of the film Star Wars in 1977 being one notable exception.

Despite this, the genre thrived, and many who read speculative fiction during this time did so with ravenous appetites and fierce devotion. Below are a few impactful literary offerings from the latter half of the century:

• A Wrinkle in Time by Madeleine L’Engle (1962, United States)
• Dune by Frank Herbert (1965, United States)
• Watership Down by Richard Adams (1972, United Kingdom)
• Interview with the Vampire by Anne Rice (1976, United States)
• The Sword of Shannara by Terry Brooks (1977, United States)
• The Stand by Stephen King (1978, United States)
• The Hitchhiker’s Guide to the Galaxy by Douglas Adams (1979, United Kingdom)
• Neuromancer by William Gibson (1984, United States)
• The Handmaid’s Tale by Margaret Atwood (1985, Canada)
• Snow Crash by Neal Stephenson (1992)
• A Game of Thrones by George R.R. Martin (1996, United States)

The Future of Speculative Fiction

Just like our world almost a hundred years ago, we again find ourselves at a major turning point. Life today can feel like a maelstrom of uncertainty. Against this backdrop, it is no wonder that speculative fiction is experiencing what many consider a second golden age.

Both on the page and on screens large and small, speculative fiction finds itself a prominent part of our culture. There are more ways to escape reality through fiction than ever before.

Below are just a few examples of contemporary speculative fiction literature illustrating the diversity of voices and ideas that are becoming more mainstream every day:

• Altered Carbon by Richard K. Morgan (2002)
• The Three-Body Problem by Cixin Liu (2008)
• Who Fears Death by Nnedi Okorafor (2010)
• The Poppy War by R.F. Kuong (2018)
• Gamechanger by L.X. Beckett (2019)
• Phoenix Extravagant by Yoon Ha Lee (2020)
• Unconquerable Sun by Kate Elliott (2020)
• The City We Became by N.K. Jemisin (2020)
• Iron Widow by Xiran Jay Zhao (2021)
• A Psalm for the Wild-Built by Becky Chambers (2021)
• The City Inside by Samit Basu (2022)

A new surge in the number of storytellers delving into speculative fiction has been brought forth.

In part, this is thanks to unprecedented growth in popularity and increased accessibility for creators of these stories. With it, we've seen an explosion of voices with diverse backgrounds, viewpoints, inspirations, and ideas in the genre.

New genres continue to be created all the time, too. Take climate fiction, which has become more prominent in direct response to the climate change crisis. Where we go from here is unknown, but it seems the trajectory is both rising and expanding.

How to Write Speculative Fiction

Perhaps you’re ready to join these speculative fiction authors and pen your own tale. You might be unsure of where to start if this is your first time scribing a novel or even a short story.

I’ve been at this game for a while now—as an author, publisher, and editor—so here are a few general tips from me to give you a leg up on the process.

Writing and Worldbuilding Consistency is King

No matter what you’re dealing with—be it building a landscape, developing a magic system, or setting up clues to a mystery—you absolutely must be consistent .

The great thing about speculative fiction is that you can make your own rules, but nothing will shatter story immersion faster than breaking those rules.

It's vital to always present a consistent view of the world you are exploring (even if that consistency doesn't feel true to your characters).

A writing tool like Campfire can serve as your story bible—with 18 writing and worldbuilding modules, plus a digital project notebook and smart tagging features to literally connect the dots between elements, you'll never forget all those tiny (but important!) details ever again.

Put Your Fictional Genres in the Blender

What makes a great story stand out is presenting something completely new. A good first step toward this is blending genres together.

For example, elements of sword and sorcery blended with space opera led to the creation of a new genre: sword and planet fiction.

I encourage you to look outside of speculative fiction genres for inspiration. Mix fantasy with romance, cyberpunk with mystery, or space opera with satire—the blank page is yours to decide what to do with it.

Think of the tropes of speculative fiction and other genres as tools. Then, expand your toolbox and find just the right devices to tell your story.

Focus on Character Development

Looking back to Heinlein’s definition of speculative fiction, I would say he had one thing right: it should focus on how characters react to things. You want your characters to feel alive and connect with the reader.

The Characters Module on Campfire is a great tool to help you toward this goal. There are 100+ character attributes to choose from alone in the Attributes Panel, so the stress of developing a believable, flesh-and-blood character is removed.

Your readers will connect most with the characters in your stories, not the fantastic landscapes or twisting plots. Those other story elements are definitely important, but it is the emotional connection with your characters that will cause a reader to fall in love with your storytelling.

If you can master this, you'll be one step closer to joining the legendary ranks of authors that came before us.

As a final thought: there is no singular, correct way to write speculative fiction. As long as you capture the essence of its dominant aesthetic—that is, speculating on what is, has been, or what could be—you're sure to find yourself penning a compelling work of speculative fiction!

How To Write A Fictional Narrative Essay

• Post category: Uncategorized
• Reading time: 12 mins read

A fictional narrative essay allows writers to create a compelling story. It’s a unique form of writing that merges the structure of a traditional essay with the imaginative elements of fiction. This guide will walk you through the steps of crafting a fictional narrative essay that captures the reader’s imagination and communicates a profound message.  

What Is A Fictional Narrative?

A fictional narrative is a piece of writing or story crafted from the writer’s imagination. Unlike factual narratives, these stories are not bound by truth or reality. They offer a canvas to explore diverse characters, settings, and plots, allowing the writer to express creativity and explore themes that resonate with readers.

Elements Of A Fictional Narrative

In storytelling, the elements play a unique role in shaping a compelling and engaging narrative. Here’s a breakdown of these elements:

• Characters: These are the people, animals, or even fantastical beings who take center stage in the story. They have their personalities, strengths, weaknesses, and motivations. Characters drive the narrative and make it relatable to readers.
• Plot: The plot is the story’s backbone. It’s the sequence of events that unfold, taking readers on a journey from the story’s beginning to its resolution. The plot keeps readers engaged by presenting challenges, conflicts, and resolutions.
• Setting: The setting is where and when the story takes place. It includes details about the physical environment, period, and even the culture of the world where the characters exist. The setting provides context and enhances the story’s atmosphere.
• Conflict: Conflict is the driving force of any narrative. It’s the challenges, obstacles, and problems that characters face. Conflict creates tension and keeps readers eager to know how the characters will overcome adversity.
• Point of View: The point of view is the perspective from which the story is told. It can be first person (narrator uses “I”), third person (narrator uses “he,” “she,” or “they”), or even second person (narrator uses “you”). The choice of point of view influences how readers connect with the characters and events.
• Theme: The theme is the story’s underlying message or central idea. It’s what the author wants to convey to the reader. Themes can be about love, friendship, justice, or any other concept that adds depth and meaning to the narrative.
• Symbolism: Symbolism involves using objects, characters, or elements in the story to represent deeper meanings or ideas. For example, a rose might symbolize love or beauty. Symbolism adds layers of complexity to the narrative and allows for deeper interpretation.

Steps to Writing a Fictional Narrative

Writing a fictional narrative is an exciting journey that involves several key steps to create a compelling story. Here are the essential steps to guide you through the process:

Become Familiar with the Text

Before you start writing your fictional narrative, take some time to acquaint yourself with the basics of narrative writing and storytelling. Understand that a narrative typically includes characters, a plot, a setting, conflict, and resolution. These elements form the foundation of your story.

Explore Potential Topics

Begin your creative process by brainstorming ideas and themes for your narrative. Think about the story you want to tell and the emotions or messages you want to convey to your readers. This is the stage where you let your imagination run wild.

Select a Topic with Substance

When choosing your narrative’s theme or topic, choose one that offers depth and complexity. A rich theme provides the material needed for character development, conflict, and plot progression. It allows you to delve into the nuances of storytelling.

Craft a Working Thesis

Develop a preliminary thesis statement that captures the central idea or message you intend to convey through your narrative. This thesis will serve as your guiding light throughout the writing process, ensuring your story remains focused on its core concept.

Compile a Wealth of Ideas

Create an extensive list of potential plot points, character traits, and symbolic elements that align with your chosen theme. Think of this list as a toolbox filled with storytelling tools. Having a broad range of options to draw from as you craft your narrative is essential.

Carefully Choose Your Elements

From your extensive list, carefully select the most relevant and compelling plot points, character details, and symbolic elements. Consider how each element contributes to the overall narrative and theme. Your choices should enhance the storytelling experience.

Refine Your Thesis

Refine your thesis statement based on the elements you’ve chosen and the direction your story is taking. Ensure it remains aligned with the story you’re developing and the elements you’ve decided to incorporate.

Organize Your Narrative

Begin structuring your narrative in a way that engages and captivates your readers. Determine the sequence of events, introduce your characters, and plan how to use symbolism and conflict to create suspense and maintain the reader’s interest.

Interpret Your Elements

As you write your narrative, analyze how the selected plot points, character traits, and symbolic elements contribute to your story’s overarching message or theme. Ensure that each element serves a purpose in advancing the narrative and conveying your intended message.

How To Develop Your Character For Fiction Writing

Developing well-rounded and engaging characters is crucial to crafting a compelling fictional narrative. Here’s how to effectively develop your characters:

• Set Clear Goals and Motivations: Give your protagonist a specific goal or desire that drives their actions throughout the story. This goal provides a sense of purpose. Explore the motivations behind your character’s goal. What personal reasons or experiences fuel their determination?
• Generate Conflict: Conflict is essential for character growth. Introduce obstacles and challenges that your character must face. Ensure the conflict is relevant to your character’s goal and pushes them to evolve and adapt.
• Establish Strengths and Weaknesses: Create well-rounded characters by giving them both strengths and weaknesses. Strengths make them capable, while weaknesses make them relatable. Consider how your character’s strengths help them overcome challenges and how their weaknesses create tension and obstacles.
• Reveal Character Slowly: Avoid overwhelming readers with too much information about your character all at once. Instead, reveal their personality, backstory, and traits gradually. Let readers get to know your character through their actions, dialogue, and interactions with others.
• Develop a Meaningful Past: Craft a backstory for your main character that informs their present actions and decisions. What life experiences have shaped who they are today? Your character’s past can include secrets, regrets, or transformative moments that add depth to their character.
• Describe Physical Attributes Purposefully: Do so with intention when describing your character’s physical appearance. Consider how their looks reflect their personality or background. Use physical attributes to convey information about your character rather than just listing their features.
• Create a Distinctive Voice: Define how your character speaks and expresses themselves. Each character should have a unique voice that aligns with their personality and background. The way a character communicates can reveal their education, social status, and emotional state.

Importance Of Using A Fictional Narrative Essay

Using a fictional narrative holds significant importance in various aspects of literature, entertainment, and even education. Here’s an exploration of why employing a fictional narrative is valuable:

• Fictional narratives are a potent vehicle for storytelling. They allow authors and creators to craft imaginative worlds, characters, and events that captivate and engage readers or audiences.
• Fictional narratives provide a safe and creative space to explore complex themes, issues, and emotions. Writers can address sensitive topics, moral dilemmas, and societal concerns within the context of a story.
• Engaging with fictional characters allows readers or viewers to develop empathy and a deeper understanding of diverse perspectives. Readers can put themselves in the shoes of characters from different backgrounds, cultures, or time periods.
• Fictional narratives offer an escape from the mundane and a portal into fantastical or thrilling adventures. They provide entertainment and allow people to unwind, relax, and experience excitement or joy.
• Writing or consuming fictional narratives stimulates creativity and imagination. It encourages individuals to think beyond the confines of reality and envision limitless possibilities.
• Fictional narratives are often used as educational tools. They can convey moral lessons, historical events, or scientific concepts in an engaging and memorable way.
• Fictional narratives invite reflection and catharsis. Readers and viewers can relate to the character’s struggles and triumphs, allowing them to process their own emotions and experiences.
• Fictional narratives have the power to showcase diverse representation. Authors and creators can introduce characters of different backgrounds, genders, orientations, and abilities, promoting inclusivity and representation in media.

Conclusion on Writing a Fictional Story

Writing a fictional essay is a creative process that involves essential steps such as understanding storytelling fundamentals, selecting compelling topics, developing characters, and using the power of fiction to entertain, educate, and inspire. Fictional narratives are powerful tools for conveying messages, exploring complex themes, and fostering empathy. They provide an escape into imaginative worlds and offer opportunities for both writers and readers to engage with diverse perspectives and experiences. 

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The Illuminati: Fact, Fiction, and Modern Myth

This essay about the Illuminati explores the origins and enduring myths surrounding the secretive organization. Founded in the late 18th century by Adam Weishaupt, the group aimed to promote Enlightenment ideals. Despite its suppression in 1785, rumors of its influence persist, involving control over governments, financial systems, and popular culture. Skeptics highlight the lack of concrete evidence, while the digital age amplifies the myth globally. The Illuminati narrative reflects humanity’s fascination with power, secrecy, and the unknown, remaining a powerful testament to belief and intrigue.

How it works

In the enigmatic world of conspiracy theories, few narratives captivate the imagination as much as the mysterious Illuminati. This secretive organization, rumored to wield immense power over global affairs, continues to be an enigma, shrouded in layers of myth and speculation.

The origins of the Illuminati trace back to the late 18th century, founded by Bavarian professor Adam Weishaupt. Weishaupt aimed to promote Enlightenment ideals in a time dominated by superstition and rigid orthodoxy. As the group’s influence grew, so did suspicions of its subversive activities.

By 1785, the Bavarian government had suppressed the Illuminati, dispersing its members. However, rumors of its ongoing influence persisted, weaving a complex tapestry of speculation and intrigue.

One of the most persistent myths involves the Illuminati’s alleged control over governments and financial systems, with accusations of manipulation and behind-the-scenes puppeteering. Alleged symbols and signs hidden in plain sight fuel debates and speculation about their covert influence.

Similarly, the supposed infiltration of popular culture by the Illuminati ignites theories about hidden agendas and subliminal messages. Cryptic music videos and puzzling cinematic elements are scrutinized for potential clues, turning every shadow and symbol into a piece of the conspiracy puzzle.

Skeptics, however, point to the lack of concrete evidence and the frequent logical leaps inherent in conspiracy theories. Many so-called revelations are dismissed as hoaxes or misinterpretations, casting doubt on the authenticity of Illuminati claims.

In today’s digital era, the Illuminati myth thrives online, where forums and social media platforms act as breeding grounds for believers to share and expand upon their theories. The internet’s reach amplifies the myth, making it a global phenomenon with significant cultural impact.

Beyond mere conjecture lies a deeper truth: the Illuminati myth reflects humanity’s enduring fascination with power, secrecy, and the unknown. In times of uncertainty, the allure of a grand conspiracy offers both solace and intrigue, inviting people to explore the hidden forces that might shape our world.

Whether the Illuminati exists in reality or remains a fabrication is a question that might never be conclusively answered. Yet, in the minds of those who ponder its mysteries, the myth persists as a testament to the enduring power of belief and the timeless allure of the unknown.

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Want to Write Better Fiction? Become a Translator

Around the world, it’s common for fiction writers to moonlight as translators. Even in places where there’s a robust network of governmental support for writers, translation work provides, at least in theory, a welcome injection of income. Since it’s difficult to make a living writing novels or stories, collecting an extra source of funding is important. What better way to do that than by plying the same medium—language, storytelling—as you do in your art?

In Denmark, Pia Juul ( The Murder of Halland ; tr. Martin Aitken ), Harald Voetmann ( Sublunar, Awake ; tr. Johanne Sorgenfri Ottesen ), Olga Ravn ( The Employees ; tr. Martin Aitken), and Simon Fruelund , whose work I’ve translated, most recently The World and Varvara , have all translated books into Danish while also developing their craft as writers. Brazilian Paolo Henriques Britto ( The Clean Shirt of It ; tr. Idra Novey ) and Argentine Federico Falco ( A Perfect Cemetery , tr. Jenny Croft ) have done the same. Jhumpa Lahiri was a prominent novelist and short story writer in English, of course, before she moved to Italy and began publishing in—and translating from—Italian. This is by no means an exhaustive list.

Unlike many of their counterparts elsewhere, most American novelists don’t translate books. Here in the United States, with its constellation of MFA programs, many teach creative writing. Those who don’t teach work full- or part-time jobs, sometimes more than one; unless you’re independently wealthy, it’s nearly impossible to make art and provide a decent life for yourself and your family. Like freelance writers, independent (non-academic) translators are part of the gig economy—a perilous balancing act between employment and under-employment. For translators whose primary income is derived from translation, it’s a constant hustle. Even if you’re signed to translate two books, say, you’re always thinking about landing a third, because you can’t let the well run dry. You want to know you’ve got a reliable income stream ahead of you. And with many translators increasingly losing jobs to generative AI , the hustle is even more acute today.

If you aspire to write fiction as well as translate it, as many translators do, then you have to steal time from some other part of your life. When I was translating my second book, Jussi Adler-Olsen ’s The Absent One , I would wake up at 4 a.m. to work on my own novel for one hour before shifting, between 5 to 7 a.m., to the translation. Then I’d have breakfast with my wife and son and head out to my full-time job as the communications director for a nonprofit. Though I cherished the one hour I got to spend on my novel—a book that took 10 years to write and would ultimately find no publisher despite my then agent’s best efforts—it came at the cost of extreme exhaustion. It was a crushing schedule I could not maintain.

Though the novel I slowly pieced together in those wee morning hours was never published, nor were two of the manuscripts I wrote after that, the crucible of translation was a vitally important training ground that taught me how to read, and write, better—however much I lamented being pulled away from my own fiction and however many rejections I got. By immersing myself in novels at the most minute level, like a biologist studying spores in a Petri dish, I learned how to develop the backbone of stories, economize, and shape language. You might ask, isn’t that what all novelists do who regularly read and study fiction? To a degree, yes. But there’s a fundamental difference: reading fiction, even close reading, is not the same thing as re creating it via translation. Or, as Jenny Croft puts it, “Translation is the closest and most active form of reading.”

The crucible of translation was a vitally important training ground that taught me how to read, and write, better.

We’ve recently witnessed a flowering of new fiction by translators. In March of this year, Bloomsbury published The Extinction of Irena Rey by Croft, whose first book, Homesick , was originally written in Spanish as a novel but later published as a memoir in English. Last year, Penguin Random House published Take What You Need , the third novel by Idra Novey following Those Who Knew and Ways to Disappear . In July, HarperCollins will publish Korean translator Anton Hur ’s debut novel Toward Eternity , while recent National Book Award for Translation winner Bruna Dantas Lobato ’s Blue Light Hours , also her debut, will be published by Grove Atlantic in October. That same month, SFWP will publish my own debut novel, The Book of Losman . This, too, is no exhaustive list.

It’s hardly surprising that translators write fiction. The question is: How does each writer’s background as a translator impact their work as fiction writers? I asked Croft, Novey, and Dantas Lobato this question.

“I think the most important thing my translation work has done for my fiction has been to de-center standardized U.S. storytelling, which is difficult to do because U.S. storytelling is typically held so firmly in place by marketing, MFA programs, etc.,” Croft says. Croft, widely known as the translator of Nobel laureate Olga Tokarczuk ’s Flights and The Books of Jacob and for her prominent role in the #namethetranslator movement, translates from Argentinian Spanish, Polish, and Ukrainian. She won the 2018 International Booker Prize for her work on Flights and teaches at the University of Tulsa. “My translation work makes me hyper-aware of the linguistic structures a writer might otherwise take for granted, such as syntax and etymologies,” she added.  “My years as a translator have taught me to judge all works on their own terms. And as a writer, to try and understand the terms of the work I’m embarking on.”

Like most translators, including the ones here, Idra Novey had literary aspirations from an early age. “I started writing poems and stories in elementary school and have never stopped,” she says. “Writing is my way of processing the world, and translation has become integral to my writing process. I was drawn to translate writers I admired and whose work I wanted to share with others, who couldn’t read it in the original.”

For Novey, who teaches at Princeton and who as a translator is perhaps best known for her work on Clarice Lispector ’s The Passion According to G.H , “the questions that guide my word choices when recreating the sensibility of another writer in English have become integral to the questions that guide my word choices for each character in [a] novel.”

She doesn’t shy away from incorporating questions of translation in her fiction. Her first novel, Ways to Disappear , is about an American translator who flies to Brazil to search for a famous novelist who has gone missing. Much like The Extinction of Irena Rey , Ways to Disappear reads like a novel conceived and developed outside the confines of an MFA workshop. Novey’s experience as a translator enriches her narratives at the most fundamental level of storytelling: language.

This kind of creativity, deeply embedded in culture and language, is paramount to the work of a translator. For translators who also write fiction, it offers another layer of possibility not available to writers who think and write solely in English. The best instruction for any writer—besides reading deeply and widely—is to become immersed, at the granular level, in another language.

Bruna Dantas Lobato, originally from Brazil, is perhaps best known for her translation of Sténio Gardel ’s The Words That Remain , which won the 2023 National Book Award for Translated Literature. She has a slew of forthcoming translations in the pipeline, and will begin teaching at Grinnell College in the fall. Her debut novel, Blue Light Hours , follows the lives of two women who live 4,000 miles apart—one (a mother) in Brazil and one (her daughter) in Vermont, where she’s a student.

What brought Dantas Lobato to translation was a keen desire to return to her roots; she missed her native language. “My life was fragmented,” she recalls. “There was this one person I was before, and there was this one person I was. There was cognitive dissonance, and I wanted to bridge the gap. I brought a lot of what I knew about writing to my work as a translator.”

The main thing translation has given her, she says, is “an expansive writer’s toolkit.” When she began putting stories to paper, she felt limited as a writer. As a translator, however, she was working with different voices and styles—from third person to first person—and this experience opened up new vistas in her fiction and boosted her confidence: “Because I’ve translated all these books, I don’t feel intimidated at all. I got my chance to try out different things. And I feel I can embody any voice I want.”

K.E. Semmel is a writer and translator. His debut novel, The Book of Losman , is forthcoming in October from SFWP. Find him online at kesemmel.com and on X at @kesemmel.

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