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Tag Archives: writing

“Governments for Worldbuilders” is Coming!

24 Sunday May 2020

Posted by Oren Litwin in Better Fantasy, Lagrange Books, Politics for Worldbuilders, Writing

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new book, worldbuilding, writing

Way back in 2013, I talked about writing a how-to guide for authors and other worldbuilders about using politics to make awesome stories. Gradually, I started posting about political topics, now helpfully collected on this page.

Last summer, I finally turned my work into a manuscript, deepening the discussions and adding new material. Since then, it’s been going through edits, layout design, and now cover design.

Now, at last, the end is in sight. Expect a cover reveal in the next week or two. I can’t tell you how excited I am!

Writing Exercises for Stories where a Religious Organization Rules Society

09 Thursday May 2019

Posted by Oren Litwin in Politics for Worldbuilders

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politics, worldbuilding, writing, Writing prompt

(A message from our sponsors: pre-order your copy of The Wand that Rocks the Cradle: Magical Stories of Family now, and get special Kickstarter-exclusive bonuses! A collection of fantasy short stories that range from tender, to grim, to poignant, to breathtaking, The Wand that Rocks the Cradle is a Lagrange Books anthology you don’t want to miss!)

This writing exercise is meant to accompany this post about the Clergy “polity,” in which power is held (at least in part) by a religious leader or organization. If you like this exercise, read the above-linked post and then come back.

  1. What religious/spiritual beliefs do the Clergy have in your society? How do they justify its political power?
  2. Is the Clergy the sole ruler? Or does it provide legitimacy for another ruler, like a king with divine right? What kind of legitimacy?
  3. Does the Clergy make political demands on other powerful figures, or society in general? How are these enforced? Does the Clergy have an army, or magical power? Or do people obey because of its moral authority?
  4. What sacrifices must the Clergy make to demonstrate its religious piety? What sacrifices does it demand of others?
  5. Does the Clergy observe its own rules? Does it have the respect of the people? Of the elites?
  6. How can members of the Clergy exploit their positions for personal gain? How often do they do so?
  7. What happens if a member of the Clergy has a crisis of faith? What about someone not in the Clergy?
  8. What would happen in a religious schism? Or a sudden outbreak of unbelief?
  9. Looking over all the potential conflict points you’ve noted, which have the most resonance for your story?

Writing Exercises for Stories with Popular Sovereignty

09 Thursday May 2019

Posted by Oren Litwin in Politics, Politics for Worldbuilders, Writing

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politics, worldbuilding, writing

(A message from our sponsors: pre-order your copy of The Wand that Rocks the Cradle: Magical Stories of Family now, and get special Kickstarter-exclusive bonuses! A collection of fantasy short stories that range from tender, to grim, to poignant, to breathtaking, The Wand that Rocks the Cradle is a Lagrange Books anthology you don’t want to miss!)

This writing exercise is meant to accompany this post about the Forum “polity,” in which power is held by at least some of the populace and exercised collectively through open debate and shared government. If you like this exercise, read the above-linked post and then come back.

  1. What gives the people real power against a would-be ruler or oligarch? Is it military weaponry? Broad wealth? Magic?
  2. What institution translates people’s individual wishes into a unified policy? Is it an elected legislature? A popular debate followed by a vote? Discussion and consensus by tribal elders? A shared religious law that dictates behavior?
  3. Who has the right to participate in the above institutions, or to choose representatives? In other words, who is enfranchised? (Remember that the famed Athenian democracy, for example, included only about ten percent of the city’s males.)
  4. Are decisions made effectively, especially in crisis moments? Is the process too slow? Does it have a tendency toward alarmism? Can voters be bought off or intimidated?
  5. Are there groups of people who are specifically excluded, like slaves or women, or elves, or biological humans in a cybernetic society?
  6. If the populace makes a decision, who carries it out? In other words, who is the executive or executor? Are they selected, or elected, or hereditary, or something else?
  7. How might the executive actor gain power over time? How might it gain power suddenly? How might it lose power, and/or legitimacy?
  8. What changes in society might undermine the basis for the Forum polity? List at least five.
  9. What ideology justifies the Forum, instead of a monarchy or other non-participatory form of government? How might that ideology be challenged? Does the ideology threaten any neighbors?
  10. Looking back at your potential points of conflict, which have the most resonance for your story?

Writing Exercises for Stories with a Ruling Nobility

30 Tuesday Apr 2019

Posted by Oren Litwin in Politics for Worldbuilders, Writing

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writing, writing exercise, Writing prompt

(A message from our sponsors: pre-order your copy of The Wand that Rocks the Cradle: Magical Stories of Family now, and get special Kickstarter-exclusive bonuses! A collection of fantasy short stories that range from tender, to grim, to poignant, to breathtaking, The Wand that Rocks the Cradle is a Lagrange Books anthology you don’t want to miss!)

This writing exercise is meant to accompany this post about the Nobility “polity,” in which power is divided among several autonomous nobles who nevertheless feel part of a common nation or society. If you like this exercise, read the above-linked post first and then come back.

  1. Spend five minutes thinking about your nobility. What makes the nobles independent of a central authority like a king? What is the source of their power? Do they have land? Their own militaries? Control over trade routes? Magic?
  2. What feature of this region, or your larger setting, makes it difficult for a central authority to project power and control the nobles? If there is no such feature, why hasn’t a king or other powerful ruler arisen? Or was there a ruler before, who became weak or was overthrown?
  3. Is there a nominal central ruler, like a high king or president? Is the ruler weak and getting stronger, weak and getting weaker, strong and getting weaker, or strong and getting stronger?
  4. Are the nobles organized in any sort of council? Do they have bonds of loyalty or partnership or citizenship? What ties them to each other? (If no such ties exist, then they are not strictly speaking “nobles,” but a collection of autocrats ruling over many tiny states.)
  5. What rivalries exist between different nobles? How might someone else exploit them?
  6. How might the nobles take power from each other over time? How might the nobles take power from the central ruler? How might the central ruler take power from the nobles?
  7. Does the central ruler have a “courtier” class? How are courtiers rivals to the nobles?
  8. Could any noble be tempted to ally against the others with the ruler, or with a foreign power?
  9. Thinking about all the possibilities you’ve written down, which have the most resonance with the story you want to tell?

Writing exercises for regime types: the Palace

22 Monday Apr 2019

Posted by Oren Litwin in Politics for Worldbuilders, State Formation

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politics, worldbuilding, writing

(This post is part of Politics for Worldbuilders, an occasional series.)

This series of exercises refers back to this post on “The Palace,” a regime type where power is centralized in a single autocratic figure like a dictator, a powerful king, or other ruler. If you like these exercises, first go back to the above-linked post and read it, then come back and work on the exercises.

  1. Thinking about your ruler, what is the source of his/her power?
  2. What claim justifies the ruler’s legitimacy? Why do the ruler’s followers obey? (Examples: is the ruler thought to be a god? Or anointed by God? Is the ruler part of a special bloodline? Or the victor in a ritual combat over the succession? Does the ruler have the most stock shares in the corporation? Is the ruler simply the richest or most powerful figure?) How does that claim to legitimacy exclude the possibility of popular sovereignty or other forms of rule?
  3. Does the specific form of legitimacy claimed by the ruler imply certain restraints on the ruler’s behavior? Must the ruler spend time propitiating the ancestral spirits, or delivering shareholder reports, or meditating and generating magical power?
  4. Who are the members of Palace “court”? How might their power or influence be dependent on the Palace? What privileges do “courtiers” have because of their proximity to the Palace?
  5. How might the Palace prevent the growth of independent powerful figures (“nobles”)?
  6. How can the courtiers influence the ruler?
  7. If the ruler is feckless or incapacitated, which courtiers might usurp effective (but not de jure) power?
  8. How might the ruler be overthrown? Is such an overthrow consistent with the existing ruling ideology, or would it need to put forward a new ideology?
  9. Looking back over all the ideas you’ve written down, which have the most resonance for your story?

Writing Exercises on “Keeping Power”

18 Thursday Apr 2019

Posted by Oren Litwin in Politics, Politics for Worldbuilders, State Formation, Writing

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fiction, politics, worldbuilding, writing

(This post is part of Politics for Worldbuilders, an occasional series.)

This exercise is meant to apply to concepts of this post, which discusses a flexible model for quickly sketching out the key political conflicts in your setting—focusing on who the ruler must keep happy in order to stay in power. If you like the exercises below and want to use them, first read the linked post and then come back.

  1. Spend five minutes thinking about your setting, then list all the kinds of people who have any influence at all on who the leader is. Are they powerful generals? Wealthy merchants? Priests? Voters in a democracy? Voters in an oligarchy or stratified society? Nobles? Regional governors? Board directors or shareholders of a corporation? This is the selectorate.
  2. Of all those people, what is the minimum level of support a leader would need to stay in power? How many different ways are there to put together such a support coalition?
  3. What could a leader offer his/her coalition members to keep them loyal? How could the leader threaten them?
  4. If a coalition member is disloyal, how easily could the member be replaced by the leader with another member of the selectorate?
  1. If the selectorate is unhappy with the leader, how easily could a new support coalition be built behind someone else?
  2. How might policies that favor the support coalition harm people outside of it? (For example, taxing the populace and giving a subsidy to coalition members.) How might potential policies to benefit outsiders harm members of the coalition, and thus be rejected? (For example, building a port that would make grain cheaper, when your supporters are rich landowners who sell grain.)
  3. How could new classes of people join the selectorate? (For example, women gaining the right to vote.) Who would benefit from such a change?
  4. How could existing classes of people lose their place in the selectorate? (For example, a democracy becoming a dictatorship; or powerful religious leaders being displaced by a religious purge.) Who would benefit from such a change?
  5. What might change to allow the leader to need fewer supporters, or to force the leader to seek more supporters?
  6. Looking at all the possibilities for conflict that you listed above, which has the most resonance for the story you want to tell?

More on Making This Editor Happy

26 Tuesday Mar 2019

Posted by Oren Litwin in Writing

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short story, writing

After I had finished making selections for Ye Olde Magick Shoppe, I wrote a post discussing some of the recurring patterns in short stories that did not make the cut. And now that selections have been made on two more anthologies (official announcement coming soon!), it seems a good time to expand that list. (I am proud to say that this time, every author did get personalized feedback—which apparently is not common these days.)

Variations of the “And” Plot

In an “And” story, something happens, and something else happens, and something else happens… but each event seems meandering. There is no progression from one episode to the next; and no buildup to a theme’s culmination.

This time around, there were a few subspecies of the “And” plot that deserve special note:

  • Wish Fulfillment: Again, not all wish fulfillment is bad necessarily. Harry Potter begins with wish fulfillment: neglected boy is suddenly told he is special and goes off to wizard school. The danger with a wish-fulfillment plot is when the author gets caught up in all the nice things happening to the protagonist, and avoids providing a real plot or conflict. The author is in danger of shying away from true obstacles, which seemingly get in the way of all the nice things happening to the characters. Done well, wish fulfillment can launch a story and make it cool, or it could even be the culmination of a story—but in between, there had better be serious conflict, drama, opposition, struggle, and in a word, plot.
  • Revenge Fantasy: Strictly speaking, this is a kind of wish-fulfillment story, but with the focus on all the suffering meted out to the protagonist’s enemies. Again, this had better be the culmination of a well-constructed plot, or it will simply be boring and lurid.
  • Passive Characters: In this type of story, the protagonist is basically a bystander. Problems are resolved via Deus ex Machina, as the protagonist stands around impotently and drifts from scene to scene, the better to observe all the exciting things that other people are doing to other people. (This is distinct from a “Watson” viewpoint character, who is not actually the protagonist but serves as a narrative device to observe the real protagonist.)

Nihilism

Yet again, the grimdark emo plot makes an appearance. It seems like many authors believe that fiction ought to be depressing and to reiterate the meaninglessness of life. This often leads to flabby stories in which a series of bad things happen, with no real theme or point.

A useful contrast would be HP Lovecraft. His stories were unrelentingly grim, of course; but they were not truly nihilistic, to my mind. Rather, in the Lovecraft mythos, human experience was approximately trivial in comparison to the vast ancient powers who battled over the cosmos. On some level, meaning still existed; it’s just that humans rarely mattered!

And this does not mean that grim, depressing stories are verboten. But they need to have a point. The Grapes of Wrath, 1984, or Old Yeller were all grim; but the grimness was in service to the story, not its focus.

***

So there you have it. The recurring theme of all of these entries is that stories, in my opinion, ought to have conflict over important stakes. The conflict need not be big and pyrotechnic; small vignettes can also be good. But it has to illustrate something that matters. At a time when we have literally millions of books to choose from, a good story needs a reason to demand the reader’s time. Tell a story worth reading.

Writing Exercises for Social Orders

07 Thursday Mar 2019

Posted by Oren Litwin in Politics, Politics for Worldbuilders, State Formation, Writing

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fiction, Institutions, politics, State Formation, worldbuilding, writing

This exercise is meant to apply the concepts from this post, which discusses the tensions between wealth and power and how they end up shaping the entire structure of society. If you like the exercises below and want to use them, read the linked post first and then come back.

  1. Spend five minutes and list all the forms of power—loosely defined, for our purposes, as both the ability to harm people and break things, and the ability to force other people to do what you want—in your setting. Fighting ability, magical power, or command over a band of robbers count; what else?
  2. Spend five minutes and list all desirable goods in your setting. Money or valuables count, but so would fame, social status, immortality, attractive romantic partners, et cetera.
  3. For our purposes, let’s define all of the above as “wealth.” For each relevant type of wealth, how might someone use different forms of power to get more wealth? List as many possibilities as you can.
  4. Likewise, for each type of power, how might someone translate different forms of wealth into more power?
  5. Now, imagine that centuries pass in which powerful people try to gain wealth, and wealthy people try to gain power. List at least five scenarios for how the society might end up looking. If a given group of people became stronger over time, who else would be threatened? How might they react? Who would win? Imagine as many possible social conflicts that you can, vary the outcomes, and list them all.
  6. Of all the ideas you’ve listed, which have the most resonance for the story you want to tell?

Writing Exercises for Stories with Foraging Bands

01 Friday Mar 2019

Posted by Oren Litwin in Better Fantasy, Politics for Worldbuilders, Writing

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fiction, worldbuilding, writing, writing exercise, Writing prompt

(This post is part of Politics for Worldbuilders, an occasional series.)

This is meant to accompany this post about egalitarian bands and this post about class conflict. If you like the exercises below, read those posts before working through them.

Let’s say you have an idea for a story that involves a society of people who don’t have a fixed home. Perhaps they are wandering cattle-herders, or perhaps they forage for roots and berries in the jungle, or perhaps they are wandering space-gypsies who survive off of volatile gases harvested with ramscoops. In any case, these exercises should help you flesh out your idea consistently, and understand how it can drive conflict and story dynamism.

  1. Spend a few minutes and list five possible reasons why your band chooses not to have a fixed home. (You don’t have to use all five in the actual story. Brainstorm.)
  2. What forms of wealth might be different between people? Try to list at least three. Does a given form of wealth tend to be dissipated over time, via feasting or gifting or divisions between heirs or another means? Or does it build on itself?
  3. What special status might someone in the band (or some family) have that others do not? Try to list at least three, remembering that not all special statuses need be in the same family. (For example, one family might be chiefs, another might be shamans, another might have the hereditary right to guard the Sacred Hospitality Blanket, and so on.) How might such status be gained or lost?
  4. How does the band handle internal conflict? Are there mechanisms for doing this? Would conflict threaten to tear apart the band? What is at stake?
  5. Why might outsiders come into conflict with your band? List five possible reasons. (“We raid their settlements and take slaves and plunder” is an acceptable reason! So is “They want to wear our sparkly purple skin as trophies.” What else?)
  6. Why does having a wandering band fit in this story? What aspect of such a band fits the theme or the conflict?

Suggestions for more? Let me know in the comments!

Conflict in Politics and Fiction

18 Monday Feb 2019

Posted by Oren Litwin in Politics, Politics for Worldbuilders, Writing

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Lenin, politics, war, writing

(This post is part of Politics for Worldbuilders, an occasional series.)

What is politics? And why does it matter for fiction?

If you were to google “politics definition,” many of the dictionary entries focus on the mechanics of running a government or a society; these are not wrong exactly, but are not terribly useful. When we say “office politics,” for example, what we mean is often the exact opposite of a smooth-running office!

Early political scientists, when they were in a pedantic mood, might have used a definition like this: “The authoritative allocation of scarce goods.” This is not very good either, but it does focus our attention on a few points:

  • “Scarce goods” implies that some people will get less than they want, or do without entirely. By definition, some people will be unhappy with the “authoritative allocation,” and want it to change.
  • “Authoritative” highlights the importance of authority, the sense that some people or some commands ought to be followed. In other words, a key part of politics is about leadership and obedience, and how that comes about.

But this definition seems sterile. We are given an image of some central bureaucrat sitting in an office and punching numbers into a calculator, thusly to apportion out the chocolate ration. Yet politics is about more than material goods (or even status, which is also a “scarce good” of a sort; but see below). So the definition is often modified to include “The authoritative determination of values.” Here we get into more interesting ground:

  • Rather than focusing on what we want, “values” instruct us in what we should want.
  • Often, this gets to the core of our identities as people. The stakes are thus very high.
  • When two different people disagree on values—say, whether cocaine use is a personal matter or a harmful vice—often they are proceeding from very different principles, which prevent agreement altogether.
  • Without a way to authoritatively settle the question, such disagreements are thus likely to persist for a long time.

Still, this definition assumes that there is a way to authoritatively determine values, and have them stick. Sometimes it can happen, for example in a unified theocracy; but very often, people who disagree with the authority’s values will deny that the authority even has the right to impose them. Religious wars are but a single example; the conflict between Capitalism and Communism would be another.

Notice that both examples also involve “the allocation of scarce goods”; and in many cases, one’s choice of values is heavily influenced by whether you will benefit from them. Of course peasants will want redistribution of capital, and of course industrialists will want state protection of property—whether or not either side could defend its position on moral grounds (and perhaps they can). As they say, “Where you stand depends on where you sit.” Values direct behavior, but they also justify behavior.

Which brings us to Lenin’s Trotsky’s cynical definition of politics: as “the question of who and whom.”

In other words, politics is about which actor or group of actors can enforce its will on another group. This needn’t even be about who gets more “scarce goods,” though that often plays a role. Rather, it’s about power—in the worst case (as Orwell so bleakly depicted in 1984), power for its own sake. Policy analysis, discussion of values, appeals to shared humanity or morality or whatever, all of these things are mere rationalizations for the will to power.

This also brings the role of conflict to the fore. Conflict was implied in the other two definitions, as we saw; but Lenin gives it center stage. Politics, for Lenin, is unending conflict.

A full definition of “politics” involves aspects of all three, but conflict remains at the heart. And that is why stories involving politics can be so powerful in fiction.

Authors are constantly admonished that stories must be about a conflict; the protagonist wants or needs something, and must struggle to get it. Political conflicts thus make for a compelling setting for stories, by definition. And each dimension of politics can add another delicious layer to the story. Conflict over possessions, or conflict over status, or right and wrong, or personal beliefs, or even about sheer will to power—as Milton’s rendition of Satan put it, it’s better to reign in Hell than serve in Heaven—all of these things can interact and build off each other.

A clear understanding of politics can provide another tool to creating strong stories. And perhaps, with luck, truly insightful stories can improve our politics in real life as well.

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