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Category Archives: Writing

Want to Write Flash Fiction?

17 Friday May 2013

Posted by Oren Litwin in Better Fantasy, NaNoWriMo, Self-Promotion, Writing

≈ Leave a comment

Tags

Amazon, ebooks, Flash fiction, Holly Lisle, NaNoWriMo, national novel writing month, new book, writing

I’ve been quite busy over the last few weeks with my new book, The Best Congress Money Can Buy. Setting up the paperback edition and ordering copies has been exciting, as has been trying to publicize the thing. (I briefly got up to #3 on Amazon in the category of Kindle eBooks > Literature & Fiction > Genre Fiction > Political, which is pretty sweet!) And right now I’ve got other ideas for stories swimming through my brain that I’m trying desperately to fight off, at least until I clear out some of my other projects… But I just came across something I had to tell people about.

As I’ve mentioned briefly before, I’ve benefited greatly from writing classes I purchased from the excellent teacher Holly Lisle (whose name will likely be familiar to anyone who frequents the NaNoWriMo forums). Well, she recently rolled out a new freebie class for people who register for her site and opt into the mailing list. It’s titled “How To Write Flash Fiction That Doesn’t Suck,” and so far it is teaching me exactly what it says in the title.

I’d never really thought about doing flash fiction myself; I didn’t understand it, I didn’t know how to structure it or what the point was in writing it. Now that I’ve read Holly’s very first lesson in the three-session course, I’m a lot more interested. Not only does the form have possibilities that I never considered before, but writing lots of flash fiction is an excellent way to drill in the fundamentals of a good story: strong character, driving conflict, compelling needs and vivid description. I can’t wait for the next installment to come out!

This isn’t the only course of Holly’s that I am taking, not by a long shot. But I paid good money for the others, and this one is free—and it’s a brilliant summary of all of her techniques in a few short lessons. When I read the first lesson, I knew I had to spread the word. It’s just that good!

So if you want to learn how to write better stories, click on this link, register for her site, and then make sure to opt into the email list. (I think the opt-in button has a big picture of a dog wearing a hat, but don’t quote me.) It’s all free—but don’t be surprised if you end up taking some of the bigger classes. Lord knows I have!

When Do Societies Face Unrest?

02 Thursday May 2013

Posted by Oren Litwin in Better Fantasy, Economics, History, Politics, Revolution, Self-Promotion, War, Writing

≈ Leave a comment

Tags

cliodynamics, economy, excessive population growth, Kindle, new book, Peter Turchin, political upheaval, politics, rebellion, revolution, Social unrest, societal violence, war, writing

I have just read a recent journal article by the brilliant scholar Peter Turchin, in which he elaborates on his theory of the dynamics of social instability over time and tests it on the United States from 1780 to 2010. Put briefly, his theory holds that one can expect a society to suffer greater social violence (such as riots or lynchings, as opposed to routine crime) in a relatively predictable cycle. The larger “secular” cycle occurs every 150 years; a smaller cycle of violence occurs roughly every 50 years, superimposed on the secular cycle. Thus in the United States, we had peaks of societal violence near the years 1870, 1920, and 1970, with the Civil War being the peak of the secular cycle. Turchin forecasts that the next secular peak should hit sometime around the year 2020. Turchin’s previous work has detected the same sorts of cycles in societies from ancient China to revolutionary France.

Of course, detecting a pattern does not tell you what has caused it. Turchin’s theory for when violence intensifies depends on two major factors. Both of these factors might derive from excessive population growth; in the early version of Turchin’s work, he was focusing on agrarian societies in which population growth leads directly to food shortages. But now that he is considering Industrial societies, Turchin is focusing more on the immediate causes laid out below.

First, whether from excessive population growth or technological disruption or whatever, there emerges a labor glut. The average wage drops in response, leading to diminished standards of living. Thus you see larger segments of the populace who are in a precarious situation, with the potential for violent outbreaks such as labor struggles, or ethnic competition with minorities, or political upheaval.

Second, there emerges “an oversupply of elites.” This can happen for a few reasons, and Turchin focuses on the economic one. The low cost of labor means that it is easier for those on the top to become far wealthier than they might have done in a more normal setting, leading to the accumulation of vast fortunes and a polarization of society. A consequence of this is that there is much more competition for the leadership positions in society, such as control of government offices. Politics becomes more nasty and partisan, leading in extreme cases to violent rivalries between elite factions struggling to secure their hold on power. Such violence is made easier by the larger number of poor, desperate people in society who can serve as a demagogue’s muscle.

In Turchin’s research, he finds that oversupply of elites has the strongest association with societal violence. This is easy to understand when one looks at places like the Philippines, in which politicians routinely employ armed militias to attack competitors (a horrifying example was the Maguindanao Massacre of 2009), or the Congo, which has been wracked with coup after coup. But even in the United States, a surplus of would-be leaders will tend to produce extreme ideologies, such as militant unionism in the 1920s, or the present upsurge in eco-terrorism.

I think many people, writers among them, mistake the relationship between cheap labor and exploitative rich. Often, a super-wealthy class emerges as a result of lots of poor people, who make it easier to be rich—that is, to benefit from the production of lots of other people. This is not to say that an exploitative class won’t try to keep everyone else poor, once it emerges. But the dynamics are complex here, and societal violence is one of the things keeping them in check.

(How might such violence be averted? Full discussion will have to wait for another post, but I find it rather interesting that the Biblical institution of Jubilee, in which land was returned to its ancestral owners and debts forgiven, follows a 50-year cycle.)

(Have I mentioned lately that my new book is available on Amazon Kindle? It’s called The Best Congress Money Can Buy: Stories of Political Possibility. You can read the first story for free here, and then buy it if you like. Enjoy!)

Thoughts after Publishing

30 Tuesday Apr 2013

Posted by Oren Litwin in Self-Actualization, Self-Promotion, Writing

≈ Leave a comment

Tags

Amazon.com, animation, art, arts, creativity, crowdsourcing, Homestuck, illustration, Internet community, Kindle, new book, videogames, writing

Last Friday, I submitted my first book to Amazon Kindle, and it was live on the site by Saturday. Today, I submitted the hardcopy version to CreateSpace, and once they approve it I’ll have a look at the proof as soon as they can mail it out. (And by the way, the process of formatting my book was made immeasurably easier by this guide to using Scrivener software. Well worth the five bucks; I was able to do all the formatting from page margins to fancy capitalized headers in less than two hours.)

In the long process of writing my stories and prepping them for publication, I used the services of several people: a graphic artist who designed the cover, a copy editor, and two story editors. Similarly, for a children’s book that is nearing completion, I’ve been working with two artists to do the illustrations. Working with other artists has been much simpler than I was afraid it would be (aside from the nerve-racking process of choosing who to work with!). Indeed, it has me thinking that the future of creative expression is going to involve not a single writer or artist signing away his soul to a publishing company, but fluid collaborations of several different artists who work together to create their products.

I’m thinking in particular of Homestuck, the webcomic-cum-animated series that is presently taking over certain parts of the internet. The creator of Homestuck was already an experienced computer artist thanks to his previous webcomics, but in this work he kicked it up a notch, by collaborating with other artists. A whole stable of music composers provide an ever-growing custom soundtrack; other graphic artists have contributed sprites or helped with minigames. The eventual product definitely breaks new ground for what a “webcomic” is supposed to look like, in a very good way.

For myself, I’ve been noodling around with a concept for a website, that would let people contribute in a crowdsourced to creating an animated movie. If someone provides the storyboards, others could upload single animation frames, aided by the software which can keep track of it all and compile them into a true movie. Others could provide vocal tracks or foleys. I think it would be a killer concept for the large community of animation and voice-acting enthusiasts; trick is, I can’t write software, so I’d need to bring in some techies. All I have is the concept. Still, it remains exciting, and maybe when I get a few more of my projects done I’ll be able to launch the website I have in mind.

Today we have so many tools for new kinds of creative expression, and the possibility exists for even more tools as soon as someone builds them. And while much of this is driven by new software or companies like Amazon, many of the new possibilities involve collaboration between artists. The picture we have in our minds of the solitary artist laboring in his or her workshop is a badly constrained picture of what is possible. Most of the great artists had staff: Michelangelo, Rodin, to name a few. Even Alexandre Dumas wrote his book The Three Musketeers with an assembly-line process using assistants (which explains why mistakes happened, like D’Artagnan being made a Musketeer twice).

If we work with others who can complement our own strengths, we can bring many new works into the world. The prospect is terribly exciting.

The Best Congress Money Can Buy

27 Saturday Apr 2013

Posted by Oren Litwin in Writing

≈ 4 Comments

Tags

books, congress, government, Guns, literature, new book, writing

…is live on Amazon! Check it out in all of its glory.

A collection of short stories envisioning what our politics would be like if key features of our society were different, “Best Congress” is sure to entertain, enlighten, and generally make you glad you read it. The first story can be read for free with the “Look Inside” feature, and Amazon Prime members can borrow the whole book for free (and I get paid when people borrow it too, which is a pretty sweet deal all around).

Goodness, there’s a lot to do now! I have to set up my author’s page, start spamming all of my friends, sending ingratiating email to all the bloggers I know, et cetera. It’s all very exciting!

My First Kindle E-Book is Submitted

26 Friday Apr 2013

Posted by Oren Litwin in Writing

≈ 1 Comment

Tags

congress, crowdfunding, government, gun control, gun rights, Guns, NaNoWriMo, national novel writing month, politics, prison reform, Self-publishing, writing

Minutes ago, I just pushed the magic button.

Yes, it’s not that impressive. Anyone can publish anything on Kindle, no matter how bad the prose is or the plot is, and most self-published books die in obscurity.

But still.

I am now selling my writing to the entire world. That’s a strange feeling. An awesome feeling. I am so grateful for the modern world we live in and all that it allows us to do.

From here, everything depends on marketing (however you wish to define that). The writing was only the first step. To actually succeed at selling my work, I need to let people know it exists. And there will be plenty of time for that in the next few weeks.

And if you want to know when The Best Congress Money Can Buy is available for purchase, please subscribe to this blog and you’ll find out soon!

But for now, while Amazon is chugging away at its internal review and my listing is not yet propagated to the website, I can sit back and savor it.

This is really happening. I wrote something that will soon go live on Amazon.com.

It’s an incredible thing.

Why You Should Save Your Early Drafts

21 Sunday Apr 2013

Posted by Oren Litwin in Writing

≈ Leave a comment

Tags

editing, Holly Lisle, new fiction, politics, representative democracy, short story, writing, Writing drafts

I’ve been stuck on one short story in the collection I’m writing for quite a while now. Previously, the story had been a day-in-the-life of a character in a new version of representative democracy that I’m exploring, where instead of having a single Congressman you can transfer your vote to anyone you like, who will be your representative—or you can vote on your own behalf on new legislation, or represent others; but it was boring because there was no conflict. I therefore junked the first idea and tried attacking it from a different angle, that of actively lobbying for a particular bill.

Unfortunately, the second version turned out to be a complete mess. Beating my head against it for weeks trying to fix the structure gave little joy. Finally, frustrated, I decided I’d take another look at the first draft and see if it could be salvaged. Lo and behold, now that I had the benefit of lots of time away from the draft (and having in the meanwhile taken some of the courses offered by Holly Lisle, an excellent writing teacher), very quickly I figured out where the latent conflicts were in the story and how to draw them out into the open.

The lesson here is that you should never, ever, ever throw away old drafts. Duplicate them and then hack them to ribbons if you are editing, but preserve and cherish the originals. They may get you out of a bind someday.

(And yes, this is another way of saying that my collection will be published Real Soon Now™. If you are interested, do subscribe to this blog and you’ll be among the first to know when the book goes live.)

Writing Better Post-Apocalyptic Fiction (Plus an Update)

27 Sunday Jan 2013

Posted by Oren Litwin in Better Fantasy, Writing

≈ Leave a comment

Tags

fiction, forthcoming, post-apocalyptic, prepper, short stories, survivalist, writing

It’s been a while since I’ve written anything here, so when I saw this post on the FuturePundit blog, I immediately had to post about it. It gives a number of tips on writing more realistic post-apoc fiction (which can therefore lead to more interesting fiction). Check it out, it’s pretty good.

On a side note, I’m presently editing a collection of short stories which I plan to publish shortly. I’ve posted excerpts of early drafts before on this blog, and there’s more to come as we get closer to The Date. I’ve also having a children’s story I wrote a while ago illustrated, which is a lot more fun than working with prose editors! Details will be forthcoming on this blog, naturally, and I’m thankful for your attention, dear readers.

[UPDATE May 17 2013: It’s published! Check it out!]

Random Fiction Excerpt #5

22 Thursday Nov 2012

Posted by Oren Litwin in Credit, Economics, NaNoWriMo, Writing

≈ Leave a comment

Tags

fiction, finance, national novel writing month, writing

From my current NaNo:

“The news had gone out that Morris had gone deeply, staggeringly into debt in order to pay for his new mansion, and his reputation had correspondingly skyrocketed up into rarified territory. Estimates on how long he would have to work at his current income to pay down the debt ranged from a hundred years to nearly three hundred, depending on which prediction of future interest rates you went by. With this move, a master-stroke of commitment, Morris had demonstrated the depth of his loyalty to the socio-political system, on which he was now totally dependent in order to stay solvent.”

On Sovereignty, Trust, and Protectorates

04 Sunday Nov 2012

Posted by Oren Litwin in Better Fantasy, Economics, History, Politics, State Formation, Writing

≈ 1 Comment

Tags

Concert of Europe, decline of the ottoman empire, economy, European Union, free market economies, government, Institutions, International Relations, Ottoman Empire, Peter Haldén, politics, protectorate, sovereign independent states, Sovereignty, United Nations, vassal states, war, writing

I recently read a journal article by Peter Haldén titled A Non-Sovereign Modernity: Attempts to Engineer Stability in the Balkans 1820-90. He writes to correct the conventional view that international relations in modernity is all about sovereign, independent states, and that the earlier era of protectorates, vassal states, or other such semi-autonomous regions ended with the arrival of nationalism. Indeed, the rationalist, modern Concert of Europe deliberately used non-sovereign zones several times in the Balkans area in order to control the outbreak of political crises.

The topic remains important for us readers today for a few reasons. First, understanding history is always good (particularly for budding fiction writers, who have a tendency to assume that all stories must be set in modern states or in absolutist monarchies, and thus impoverish their stories.) Second, non-sovereign states never really went away; they were just sleeping. Understanding the dynamics of non-sovereign states gives us a fresh lens to understand places like Kosovo, Chechenya, or even international organizations such as the European Union or the United Nations.

The power politics of the 19th century were marked by several themes, but two of the most important were the decline of the Ottoman Empire as a great power, and the rise of Russia which aspired to take its place. The fundamental problem facing the European powers was how to manage the fragmentation of Ottoman authority, which expressed itself in events like the Greek revolution, without causing a full-blown war between the Great Powers over the spoils.

Briefly, the favored solution was to take outlying provinces of the Empire and turn them into non-sovereign states, under the aegis of the Concert of Europe. These provinces would still nominally be subject to the Turkish Caliph and would pay tribute, and they would be prohibited from having free diplomatic relations with other states as an independent state would, or from having a military. But they would have civil militias and police forces for defense, they would be self-governing, and they could have diplomatic relations with the Concert of Europe as a body. Importantly, the Ottoman Empire would be forbidden to maintain troops in these non-sovereign states.

How does this help? In modern International Relations, states often try to set up buffer zones between them and some potentially hostile neighbor. These zones typically take the form of other, smaller, states. For example, China uses the totalitarian hell state of North Korea as a buffer between it and South Korea, or Japan. The “Low Countries” of Belgium, Netherlands, and Luxembourg were used as a buffer between France and Germany, to their periodic detriment.

The idea is that if you don’t share a border with a potential foe, then there are fewer opportunities for friction that might escalate into a full-blown war. After all, it is hard to distinguish between positioning troops to defend your borders, and positioning troops to attack your neighbor. So the buffer state helps to cool down the temperature. The only problem is that when a buffer state is independent, it can rely only on its own force of arms to maintain itself. The history of the Low Countries graphically demonstrates how easily this can fail; moreover, the potential for a buffer state to become a full-blown military ally of one side or the other ensures that the situation remains tenuous.

A demilitarized nonsovereign territory, on the other hand, is not guaranteed by force of arms, but by the cooperation of the potential rivals under color of an international agreement. There is less likelihood of miscalculation or escalating tensions, and more opportunity for creative institutional design (read the article for some great examples); not all peoples are ready for statehood, after all, even aside from the objections of their current rulers. And there would be less competition between rivals such as Britain and Russia as there would be (and were) over who would dominate the policy of newly independent states, if the territories could only have relations with the international body as a unit and not with other states bilaterally.

For a modern parallel, we can look to the European Union, which began as the European Coal and Steel Community—a project to strip West Germany’s ability to produce war armaments without the cooperation of France, and vice versa. By effectively tying their own hands, the member states hoped to foreclose on the possibility of war between them, so they could focus on the vital task of withstanding the Soviet Bloc. Henceforth, relations between member countries would be based on partnership and negotiation, not power politics.

However, in the case of the Balkans, the stability of the protectorate arrangements for Greece and elsewhere depended crucially on the degree to which the Great Powers trusted each other. In the three cases that Haldén considers, the initial attempts to institute a nonsovereign territory broke down once Russia violated the terms of the agreement, and Britain could no longer trust the Russians to play nice. (I am oversimplifying grossly.) Indeed, the creation of new independent states from the former provinces of the Ottoman Empire was, in Haldén’s telling, a suboptimal outcome, forced on the Great Powers by the breakdown of cooperation and the increasing worry over Russia’s growing power. The independent states would have to fend for themselves, without the aegis of a Concert of Europe which was growing ever-less-concerted over time. No surprise that World War I kicked off in the Balkans; Serbia was one of these formerly nonsovereign states.

Similarly, arrangements such as the EU or the UN are hampered by the lack of trust between member states. Many predict that the current economic crisis may spell the end of the Euro currency, or of the EU altogether, because Germany will grow tired of footing the bill for its more spendthrift neighbors forever. Early aspirations for the UN to become a true world government, meanwhile, have run aground on the cold reality that Americans do not trust a body made up mostly of dictatorships to act with the public interest in mind.

Haldén also draws a fascinating parallel with the old free-markets/interventionism debate in economics. He writes that creating new independent states who would rely on their own armies for defense, and hoping that they can contribute to international stability, is comparable to the intent of the free market. Conversely, a managed protectorate under the oversight of an international body is similar to government control of the economy, under the theory that such control will lead to more manageable outcomes. Whether or not you believe that government control can lead to better outcomes in the abstract, it is clear that you will not desire actual government control unless you trust the government to play nice. If you do not trust the government, you will accept even the putatively suboptimal outcomes of the free market in exchange for keeping a measure of control over your own destiny.

Haldén apparently wrote a book exploring some of these themes, which I may want to read. For our purposes, we should remember that what we are familiar with is not everything that is possible. As well, if we want to build a new world, it is crucial that we trust the main players; otherwise, the world may turn out to be not what we expected.

Why Must Fantasy Always be Set in Huge Worlds?

09 Thursday Aug 2012

Posted by Oren Litwin in Better Fantasy, Writing

≈ 1 Comment

Tags

Belgariad, David Eddings, Fantasy, fiction, politics, Robert Jordan, Village, Wheel of Time, writing

One of the things that has struck me as I read fantasy is that when an author aspires to create an Epic Story, almost inevitably the story will involve lots of travel that will span the fantasy world, taking us between settings that are wildly different from each other, the better to convey that sense of yawning scope that we are looking for, and to showcase the depth of the story’s world (not to mention the cleverness of the author for creating such a world!).

As always, I hasten to note that this is not inherently bad. When such stories are done well, the vast distances traveled and massive shifts of setting will help to build a truly impressive story. (Off the top of my head, George R. R. Martin’s Song of Ice and Fire does a good job here—as does, in a very different fashion, Le Guin’s A Wizard of Earthsea.) It seems that as far back as humans were telling stories, we associate physical journeys with spiritual ones, so that a character’s changes take on special emphasis when he or she is also journeying.

Still, there are perils to this approach. The most common one is that in our haste to create big worlds, we skip past the minor detail of making deep worlds. To take a ludicrous example, imagine a story in which there are several continents, each of which is ruled by a monolithic empire which is only distinguished from the next one by the color of its clothing, or the shape of its people’s ears, or somesuch. For a more concrete example, David Eddings’s Belgariad series features a series of countries each with overpowering national stereotypes, so that all Drasnians are cunning spies, all Sendars are plain country folk (including the king!), and so on. To be fair to Eddings, he was in part doing a send-up of genre clichés that date back to Tolkien at least… but still. My objection is this: in our haste to have vast worlds, we skimp on the details that actually make things interesting.

For myself as a political-science geek, one of the things that galls me is how often writers imagine that their fantasy kingdoms have no actual politics. Oh, sure, you can have your treacherous nobles or devious advisors, but what is their power base? Why are particular groups of nobles in one faction and not another? Where does each of the nobles live?

Consider, for example, The Wheel of Time. Robert Jordan, may he rest in peace, at least had the decency to include rebellious nobles in his story, which puts him head and shoulders above some other authors I could name; but the treatment of politics was boring. In each country, there were Loyal nobles, and Disloyal nobles, all of whom seemed to float in midair without any particular ties to geography, or concrete interests that might pull them toward one faction or another. And none of these conflicts ever spilled across borders! The factions that opposed our heroes never formed a broader alliance with each other, in stark contrast to all the rules of war and politics from time immemorial. No, they remained in their neat categorical boxes, country by country.

One ridiculous consequence is that no noble in WoT ever switches sides unless being faced with naked force, and even then only rarely. (In real conflicts, players are constantly trying to play both sides against the middle; for an example, just read up on any major Afghan warlord. James Clavell’s Shogun is a good fictional example of such maneuvering, albeit not a fantasy one, and notwithstanding the other objections you could make about it as historical fiction.)

For a while now, I’ve been toying with a move in the opposite direction: to have a fantasy story that takes place entirely within a single village. The characters no longer have the option of fleeing from their problems across the continent; the focus of the story would be on the intricate social conflicts between the village peasants, all of whom would naturally have to be identified by name and social position. I haven’t done it yet largely because it would be hard to pull off; all those family trees to work out, who’s married to whom and why it matters, the tangle of petty jealousies and feuds that mark village life, and so on. The biggest conceptual difficulty, I think, is how you could make a story of such constricted scope still have that vast fantasy feel. My current thinking is that the large-scale problems at work in the country as a whole would create fault-lines in the village, so that we still feel connected to the larger conflicts.

The attraction of such a challenge would be that the setting would have to be steeped in detail; indeed, only by having a rich texture in our setting would the story even be interesting. The characters would have to be well fleshed out, their relationships with each other would have to be compelling, the material facts of life in a fantasy village would have to be hammered out and establish the rhythms of the story. Compared to yet another world of flimsy cardboard countries, I think such a story could be a breath of fresh air.

For my readers, I would say that you have other choices besides a vast fantasy world stapled together from clichés. You might try a smaller canvas, with more care devoted to the individual brushstrokes, and see what that gets you.

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