A Worldbuilding Example – Part I: Introduction and Influences

As I’m procrastinating from some of my other projects, I thought it might be fun to go through the worldbuilding process instead of only writing about doing so. This will be the first post in a series to do just that.

Initial disclaimer and caveats

There are many different ways to go about the process of worldbuilding, approaches and philosophies of creative work, foci and areas of interest in fleshing out a world, etc. I make no claim to be doing things the “right” or “best” way. I’m going to do this in the way that I’ve discovered works for me. I hope it helps you, even if how it helps is in causing you to do things a different way. Failing that, I hope it entertains.

A Starting Place: Purpose

We have a few high-level choices to make before we really get into it. The first is what we’re building a setting for. As I’ve mentioned many times, Avar Narn is the world I’ve been building for a long time and the main setting for much of my writing. Here, I’m going to try to do something different. To a great extent, I foresee that there will be some similar themes and ideas in both settings simply based upon the things that interest me. However, I’m going to try to keep this from being a rehash of the exact same ideas.

Those sidebar comments…aside…I’ve decided that I want to build this setting for a combination of creating a space to write in, a setting to use for roleplaying games should I so choose, and also simply for the enjoyment of the process. You might note that this hits on the main three reasons for worldbuildng I’ve discussed in other posts. The attempt to equally address these concerns I hope will make this series more helpful for others seeking to glean ideas from it.

Knowing my purpose, I’m going to now pick a loose genre. The emphasis is on “loose” here because I really like mixing genre conceits, as is already somewhat and will become more evident in my Avar Narn writings. As Avar Narn is loosely fantasy, this setting will be loosely sci-fi.

A Guide: Genre

A sci-fi setting for writing, gaming and art for its own sake. So far so good. There’re a lot of subgenres in sci-fi that are important to audiences, so I’m going to make some additional choices here to help allay what could become future obstacles.

I like my stories to be closer to the personal, the “realistic” (whatever that is) and the gritty. I’m not a scientist and, while I like theoretical physics and the like, I do not want to have to do any more math than is absolutely necessary. Consequential decisions: I will lean toward “hard” sci-fi but not slavishly so. I’ll try to avoid anything that blatantly violates the laws of the universe as we understand them, but I won’t avoid occasional handwavium if it serves the setting as a whole.

I’ve also decided that I’m going to use the shortcut here—so that the majority of my creative focus remains on Avar Narn—of using a future version of our world (and worlds beyond) rather than creating a sci-fi universe whole-cloth.

A Mission Statement: Theme

The setting needs a good core theme or set of themes to tie it together, much like an organization’s mission statement or the thesis of a scholarly work. We could just create bits of the world and see what themes float to the surface, but I find it far more efficient to decide what you want your world to do and then fill in the details to align with that.

Fortunately, I have a few themes to address with the setting:

  1. If humans have the technology to recreate themselves, what does that look like? How far will humans go and what are the reasons they’ll have for doing so.
  2. How does ideology (philosophic, religious, political, moral) drive history and individuals? What about vice versa? What makes us choose (or leave) an ideology? Do we choose our ideologies for emotional reasons, or practical ones, or something more complex? How strongly are we committed to ideology—what ideologies will we kill and die for, and why?
  3. Control—over culture, technology, relationships, even self. Do we really have it at all? If so, how do we take (or relinquish) control? What is the morality of control?
  4. The macro versus the micro—should humans prioritize large-scale constructs (governments, societies, institutions) or individuals? What do different prioritizations look like?

Four is plenty of high level themes, I think. This will give us a lot to play with but still have enough coherence for the setting to avoid the “kitchen sink” approach.

Assembling Building Blocks: Influences

And now I plan a heist. I’ve already spent a lot of time casing my targets, so it’s just a matter of infiltrating, stealing what I want, and getting back out. Here are some of the sources I’ll steal ideas from:

Novels

Altered Carbon (Richard K. Morgan) – billed as “hardboiled cyberpunk”, this fast-paced sci-fi noir story hits a lot of my sweet spots and (as far as I know) inspired the Eclipse Phase game mentioned below. As we’ll parse out later, I have some serious conflict about the idea of digital-brain transfers, but there’s much in this novel that inspires.

Snow Crash and The Diamond Age (Neal Stephenson) – Both of these novels have influenced me—both as writer and a theological thinker, believe it or not—so I can’t imagine but that I’ll draw some inspiration from them, though I think my own preferences and approach vary significantly from Stephenson.

Do Androids Dream of Electric Sheep? – I’m a big fan of almost all of Phillip K. Dick’s work (strange as some of it is), but this one seems to fit some of the themes and ideas I’m interested in for this setting well.

Old Man’s War (John Scalzi), Ender’s Game (Orson Scott Card), Starship Troopers (Robert Heinlein) – I love military sci-fi and, based on the themes above, there’s a significant role for military conflict to play in this setting.

World War Z (Max Brooks) – no, I don’t intend to have zombies. What I want to draw from this book is how it starts from a fictitious situation (here, zombies) and builds rational and believable sociopolitical events and histories on top. Please, for the love of God, ignore the movie.

Embedded (Dan Abnett) – I like Abnett’s writing for the Warhammer 40K universe, and this military sci-fi novel does a lot really well and has a feel and setting with a lot I’d like to use.

Non-Fiction Books

Future of the Mind, Physics of the Future and Physics of the Impossible (Michio Kaku) — Kaku has for some time been a popularizer of scientific ideas, particularly through his TV appearances. These books contain speculations from the well-researched to the wild and almost certainly unfounded—perfect for sci-fi.

Out of Control: The New Biology of Machines, Social Systems & the Economic World (Kevin Kelly) – a Wired magazine editor’s part celebration, part warning about future technologies.

Movies and TV

Alien Series – I love the industrial look of spaceships in these films, where (if I’m to think about it perhaps overmuch) the ship reminds us of the horrors of a soulless industrial society that places profits above people just as we’re faced with an alien threat.

Blade Runner and Minority Report – As I said, I’m a big fan of PKD and while the films often miss some of his more poignant inquiries, they perhaps make up for that in inspirational visuals.

Inception – as we come closer and closer to virtual reality—and virtual reality difficult to distinguish from real reality being soon to follow—this film has plenty of ideas in it that makes sense in almost any sci-fi setting (especially when combined with the sort of nasty tortures and interrogations that virtual spaces are used for in Altered Carbon).

Firefly and Serenity – while I want to steer clear of the “Western in Space” idea (despite it working so well for these stories), there’re are many ways in which FTL travel would create some Old-West-like frontiers, and stories one might not think of—like Revenant (in SPAAAACCCEEE!) could also abound. In fact, why are there so few “classic” wilderness survival stories in sci-fi? Plenty of spacefaring hard-sci-fi survival stories, but not so many in the wilderness (unless I just don’t know them).

Battlestar Galactica – I have to say that, despite greatly enjoying this series, there’s a lot from it I wouldn’t use in my own sci-fi stories. Nevertheless, I’m sure there’s something to glean from the dross, I’m sure.

Tabletop Games

Infinity – if you haven’t seen the 28mm skirmish game (and upcoming RPG) Infinity, take a look. I typically have a hard time getting into anime, but despite the anime influence on this setting, it’s fascinating and I love the art style.

Shadowrun – this game was really my introduction to the cyberpunk genre and there’re some cool ideas here. As I mentioned above, though, I don’t intend this setting to be strictly cyberpunk, despite some of the influences mentioned.

Video Games

I take a lot of my writing inspiration from visual experiences, so the art style and consequential “feel” of film and games often helps my creative juices flow. When I think of doing a sci-fi setting, I think of Mass Effect (how could one not), Dead Space and Titanfall.

Futurist Reports

To a great extent, I think calling oneself a futurist or futurologist is a way to indulge in sci-fi imagination while still retaining some scientific credibility. Regardless, there are a number of futurologists whose reports provide ready fodder for thinking about human society and technology in the near future. I’ll be drawing on futurist reports, articles, speculative timelines, etc. for inspiration.

Art

As I said above, I’m very visual in my imagination, so I spend a lot of time creating collections of inspirational art and photos, most often pulling them from DeviantArt.com. For this setting, the two artists there that immediately come to mind are Shimmering-Sword and StTheo. Careful going down the DeviantArt rabbithole—you can lose hours wandering through the works of all of the talented artists there (or sorting through the crap that gets posted alongside them).

Other

TED Talks will also play some role I’m sure, as I tend to enjoy listening to them and they do relate to technology, after all. To some extent, I may find other podcasts or programs with something to contribute.

NEXT TIME: Some high-level choices about the particulars of the setting.

For the next post in this series, click here.

Learning for Science! (Or Worldbuilding)

In one of my previous posts (“Worldbuilding – An Education”) I talked about the value of the worldbuilding hobby for expanding one’s educational goals and accomplishments. This time, I’m going to approach the same topic from the other side–how learning helps your worldbuilding. In particular, I want to share some resources that have been helpful to me in my own practice of the pursuit.

As you know, most of my worldbuilding is done for the purpose of creating settings for my speculative fiction (or, less frequently, for roleplaying games). I’d like to pause for a moment for a brief confession: learning for the purpose of gaining knowledge and tools for worldbuilding is something of a safety net for my productivity. Writing is almost always difficult (sometimes the words come easy, but making them say something worth saying in a way that holds attention is far from automatic) and often frustrating. As much as I enjoy it (and feel called to it), writing is often work.

There are many things that I like to do that are not work. Exercising (though it’s only slightly less difficult than writing–particularly running), reading, building things, watching TV, listening to music, pretending I can draw, and–especially–video games (even though Jane McGonigal would not entirely agree that video games are not work of a sort, and I agree). When writing becomes difficult, the seductive call of things that do not feel like work becomes ever more powerful, and discipline in writing is, for me at least, a difficult thing to maintain as it is. So, when I give in to temptation to mindlessly play video games, find some project around the house to help me procrastinate or otherwise avoid what I feel like I should really be doing, I play an audiobook. That way, I’m at least learning something that will be useful to me when I sit back down to write. A lot of what I have to offer in this post are things I’ve come across during that liminal state of wishing I was writing but lacking the motivation to actually be writing.

Dan Carlin’s Hardcore History

I’ve mentioned Dan Carlin several times in various posts on the blog, but it can’t hurt to bring him up one more time. His Hardcore History series covers many topics throughout human history from the 20th century to the very early historical period. A worldbuilder must be a student of history. Fiction is, in some ways, simply created dramatic history. This is often on the personal level, but the fantasy genre also often thrusts its characters into world-shaking events of epic importance. To do that well, or to create a setting that supports any kind of fantasy story, you need to be able to have a general sense for the flow of history–that is how one event influences and shapes those that follow–and for communicating the feeling of history; that is, giving the reader a sense of what it is to be alive and in the culture and history of the setting.

Dan Carlin is an excellent historian in general I think (though he doesn’t describe himself as such). Where he really shines is in communicating the feeling of history. When you listen to one of Carlin’s series, he takes the time to ask the questions and give the descriptions that invite you to imaginatively and emotionally participate in the events discussed. So, I’d recommend him both for the substance of his histories and for his method of historiography. Carlin gives us an example of how to think about histories–real or fictitious–in ways that bring them to life.

Great Courses

I love the Great Courses series (www.thegreatcourses.com; also available through Audible.com and Amazon). This is partially just because I’d be a perpetual student if I could be. Nevertheless, the breadth and scope of courses offered by The Great Courses company allows you to target specific points in history or culture (or science or politics and many other subjects for that matter) and delve deeply into that subject–for tens of hours.

If you’re not familiar, the Great Courses are essentially recorded undergraduate classes comprised of 30-45 minute lectures prepared and given by some of the foremost professors in the higher education systems of the Western world.

Here are a few courses I’ve personally found useful (your mileage may vary, as they say):

“Buddhism” by Prof. Malcolm David Eckel

“Religion in the Ancient Mediterranean World” by Prof. Glenn S. Holland

“Espionage and Covert Operations: A Global History” by Prof. Vejas Gabriel Liulevicius

“The Italian Renaissance” by Prof. Kenneth R. Bartlett

“The Renaissance, the Reformation, and the Rise of Nations” by Prof. Andrew C. Fix

“The Late Middle Ages” by Prof. Philip Daileader

“The Fall of the Pagans and the Origins of Medieval Christianity” by Prof. Kenneth W. Harl

“The Medieval World” by Prof. Dorsey Armstrong

“Medieval Heroines in History and Legend” by Prof. Bonnie Wheeler

“The Other Side of History: Daily Life in the Ancient World” by Prof. Robert Garland

As a note: I have a master’s degree in medieval and renaissance literature and my B.A. in History also focused on that time span, and yet I always gain something new and fascinating in these courses. Knowledge is funny that way, I guess.

Curiosity Stream

Curiosity Stream is a subscription, on-demand service like Netflix except that it is only for documentaries. Feeling lazy and want to veg while watching TV? Here’s your excuse to do so and still like your making some progress on your worldbuilding.

The best part of Curiosity Stream is the source of many of its documentaries–BBC and Sky from the UK and various subtitled or dubbed documentaries from the rest of Europe. This gives you access to docs you won’t find on Netflix or Amazon Prime (the selections on which I often find disappointing) and gives you a look at topics from other than an American worldview (this, also, is essential for good worldbuilding–your cultures must stand on their own, not as representations, modifications or critiques of your own culture).

Worldbuilding Books

To be honest, there are few worldbuilding books that seem worth the investment of time once I’ve gone through them. Some are just too generic and obvious to be helpful; others want you to dive so deeply into things like plate tectonics and the albedo of your planet that (unless you’re writing something where such details are important to setting or story–I’m looking at you, hard sci-fi) you’ll end up wasting hours making calculations that (if you’re like me) probably end up wrong and that you’ll forget and never use anyway. Still, you do need to be able to avoid (or, I suppose, willing to ignore) glaring mistakes in the creation of a world that will distract its visits from the willing suspension of disbelief.

One example–rivers tend to converge; they do not tend to (but on rare occasions do) split into multiple major waterways (with the occasional exception of the river delta, though that’s different, I’d say). Maps or geographic descriptions that do not follow real-world data (and that do not have some sort of in-setting explanation for the variance) will annoy those with the specialized knowledge to point out the error and may even unsettle others who have a sense that something doesn’t add up even if they can’t put their finger on it.

Most of us do not have the time to become intimately familiar and comfortable with such diverse fields as geography, geology, planetary physics, ecology and biology, etc. Having a worldbuilding book that helps manage some of these issues can be a great time-saver (and an interesting read).

I only have two recommendations in this category that I’m really comfortable making:

The Planet Construction Kit, by Mark Rosenfelder. This is a great book for negotiating some of the larger scientific issues if you need to create a whole planet or want your setting to be that detailed.

Holly Lisle’s Create a Culture Clinic. This book outlines many aspects of culture that a worldbuilder might want to define, along with some writing exercises to bring that information into narrative form. I won’t say that this book alone is going to inspire you to create a culture, but it is very good at asking the questions you ought to ask while building a culture.

Both Rosenfelder and Lisle have a number of other books on worldbuilding (and language construction, if you’re into that sort of thing) available, but the two above are the only ones I would say should definitely sit on a worldbuilder’s bookshelf (or in the memory of her Kindle or iPad or whatever).

PBS’s SpaceTime Series

This is a recent discovery for me. It’s a show viewable on YouTube (without any subscription) that tackles advanced physics questions in ways understandable to a lay audience. If you’re into hard-science settings (or at least high-plausibility in your sci-fi), there’s a wealth of information here on how to accurate depict artificial gravity (using centrifugal force at the proper radius and rotation speed to achieve 1G while minimizing the Coriolis effect), the feasibility of various sublight and FTL drives, etc.

Have you, dear readers, found some valuable fonts of knowledge and learning that have helped you in your own worldbuilding? Please share through a comment!

 

 

Rites of Passage

[The short story below has perhaps not been edited as thoroughly as it should be, but I’m anxious to get a real sample of my fiction on the site, so here it is. As is suggested by it’s location, this is a short story set in Avar Narn.]

(Read this short story in PDF by clicking: JM Flint – Avar Narn – Rites of Passage)

Emryn looked conspiratorially across the large and ancient table that dominated the center of the apprentices’ study, the candlelight shadowing her face in a way that struck Amaric as both erotic and sinister, like one of the Aenyr. “But don’t you think we could?”

“We could, maybe, but that doesn’t make it a good idea,” Amaric said, his quill scratching an idle doodle on the parchment where he had been taking notes from a mildew-scented copy of Délathë’s Thaumaturgical Theorems and Postulates.

“It’s simply a matter of doing it right. If we’re careful and we do the research, where’s the danger?” She closed the heavy tome before her as she spoke, a cloud of dust rising from between the pages.

“Remember what the archmagus says? ‘Fates worse than death.’ I like my soul in my body, thank you.”

“Amaric,” she began, looking to ensure that the door was closed before she reached across the table and grasped his hand, “you’re being over-dramatic. We could do this. We’ve been studying under Magus Albrith for two years and we’ve never seen a summoning! How are we going to learn conjury if he doesn’t teach us? I don’t think they let apprentices who don’t know their conjury into university.”

He wasn’t listening. When Emryn leaned over, Amaric found himself staring down the front of her dress now that her breasts had become suddenly more apparent. The smell of almonds wafted over him and his fingers warmed in the remembrance of her skin. At the edge of his vision, he noticed her looking down, her nose an arrow to the cleavage that had captured his imagination. As she looked back up, he followed the movement of her face until their eyes met. He blushed, first for gawking, then for blushing. A coy smile passed across Emryn’s lips as she returned herself to her chair, kindly removing the distraction.

After collecting himself, Amaric struggled to return to the conversation. Unable to recall what Emryn had just said, he started afresh. “This is going to be like our first attempts at evocation all over again,” he muttered.

“Psh. First, it was only a small fire. Second, that one was your idea. This is completely different.”

They both laughed at that. She twirled her auburn hair in her finger, a gesture that always managed to stir Amaric’s heart, though he never quite understood why.

“Well, we might learn something from a spirit that’s more useful than the nonsense in this book,” Amaric said, wiping the quill and his fingers with a vaguely damp and ink-stained cloth before returning the writing instrument to its rest. “But we’ve got to choose carefully. Something safe. Maybe one of the Ninvenai or the Qalenëdhai…”

“Or the Unëdhai,” Emryn said, her eyes twinkling with innuendo.

Despite himself, Amaric laughed softly. “Okay, we’ll see, but we’re not doing anything until we have more information about what all is involved.

“Deal.”

“So what’s the plan?”

“We’ll need to know about the theory and practice of conjury—I’ve got that covered,” she said, standing and walking into her adjoining room without a further word. Rather than questioning her, Amaric simply watched the crewel-work dolphins—her family’s symbol—on her dress swim back and forth with her hips as she walked. She returned with a small stack of books, some of them in terrible condition. “I’ve been collecting these for the past few weeks while in the library. Doesn’t seem that Magus Albrith thinks much of them, but they’re what I could find.”

“Busy girl,” Amaric said, his mouth a thin slit of tension between amusement at her resourcefulness and unease about how real the thought of performing a summoning had suddenly become. “So, do you have a formula for a specific spirit in any of that? We’ll need a true name to make sure that whatever we summon is really under our control.”

“Unfortunately, no. These are guidebooks to the Practice, but they either never had any lists of spirits or what they had has been lost to time and decay.”
“So, step two, find the true name and instructions for a particular spirit.”
“Right. After we make sure that we understand these,” she said, passing one of the books to Amaric.

“Studying, sure,” he said, making eyes at her.

“Yes, studying—for now, at least.” The corner of her mouth turned up with the hint of suggestion.

They had grown close over the past two years, whether by real attraction to one another or simply because there were no other adolescents to be found in Albrith’s manse neither knew. Learning the arcane necessarily meant their seclusion from broader society, and the manse occupied an isolated valley in the foothills of the Engmaic Amisnoth north of Asterfaen.

Emryn had always been kind to Amaric despite his low birth; she treated him as an equal. She had been plain when she arrived, and Amaric had first grown fond of her wit and unabashed playfulness. About a year ago, Emryn emerged from her rooms one morning recognizable but made beautiful; reshaped by some arcane working.

Amaric had heard rumors that all arcanists became beautiful like the Aenyr, but mostly the Temple priest had told the village children this as a warning against the corruption of thaumaturges. Later experience told Amaric both that this was not entirely true and that a working of that kind of permanency required sacrifice—symbolic or literal. What Emryn had sacrificed for her beauty he knew not and dared not ask.

Both apprentices steadily approached adulthood during their studies, and thus it was perhaps inevitable that their friendship might accrue some amount of the romantic and erotic in the midst of adolescence. Albrith either did not care or pretended not to notice the attraction between them—he revealed little in his demeanor.

The two apprentices spent weeks in furtive preparation, studying the tomes Emryn had collected in the late evenings between the work their master had assigned them and the trysts that often occupy young lovers. Finally, they felt ready to move forward and agreed one night that Amaric would make his way to the library to find the name of a suitable spirit while Emryn collected the sympathetic components necessary to the working.

*          *          *

The library lay within a broad and squat tower at the corner of Albrith’s manse, a base floor ringed with shelves full of books menacingly surrounding a few ornate desks, the shadows of light from the smokeless everlamps playing the dance macabre across the reading space while their smoky essence mingled with the smells of mold and material entropy. Three balconies of tomes, scrolls, stone tablets and other questionable pieces claiming to be writings looked down upon that central area, pronouncing the judgment of wisdom lost and the thoughts of long dead men upon those who stood below.

Throld, Magus Albrith’s librarian and scribe, perched upon a high stool before a scrivener’s desk near the first story’s wall, where he busied himself with the copying of a tome fully intent on crumbling to dust without notice, his seat creaking in protestation as his weight shifted back and forth in scratching out each line of text.

When the magus had first shown his new apprentices the library, Emryn had matter-of-factly informed her master that the printing press could make far more copies of his books in far less time, and without all the cramped hands. Albrith had turned her suddenly to face him, his cold eyes looking deep into hers; she had feared he would work a sorcery upon her in angry response. Instead, with a subtle smile and a voice stern but not unkind, Albrith had merely stated, “There are some books that ought to be difficult to share.”
As he entered, Amaric made no sound but nodded respectfully to his master’s servant, receiving a warm smile in return as Throld emerged for a brief respite before diving back into his work.

From a pouch at his belt Amaric drew a piece of folded parchment, stretching it open for review. Upon the skin he and Emryn had listed the names of known conjurers whose notes, journals or publications might contain a specific formula for the conjuration of a spirit. He searched, aimlessly at first, for texts written by someone on his list. Many of the works had no information on their spines or covers, forcing him to search book by book, pulling each delicately from its place, careful not to disturb is neighbors, blowing free the accumulated dust and slowly opening each in hope of success. Only the smell of old vellum and leather, sneezes and the brief excitement of opening old tomes that threatened to crumble in his hands rewarded him.

Amaric had often wondered why Albrith had not organized his library like those in Asterfaen; this search brought him understanding: the chaos provided a defense against something the master wished to remain occulted. No locks, no chains, only the more effective defense of drudgery protected the most important works. Unless some enchantment lay upon the library. Amaric dared not test this possibility—the magus had told them of protective ensorcelments that alerted their creator when prodded with the slightest amount of thaumaturgical Power.

After several hours of searching the shelves and cabinets, the deep, rich scent of hawthorn and wine indicated the presence of someone behind Amaric just before a hand fell upon his shoulder, firm but not aggressive. He turned to see Throld smiling at him. “On one of Albrith’s goose chases, eh? You’re not the first set of apprentices he’s condemned to such.”

“Yep,” Amaric replied, staring bashfully at his toes, his hand slightly outstretched and holding his list. “We’re to find anything by any of these people.”

Throld looked over the list, adjusting the hinged spectacles that clung to his broad nose. “Hmm. Yes, this one.” He pointed to a name on the list, one “Cadessia eld Caithra”. “I seem to remember copying something out of this one a few months ago, but—” he dropped off.

Amaric cocked his head to the side by way of response, the way a curious puppy might.

“Not a book for apprentices, I’m afraid.”

“What does that mean, Throld?”

“Young master Amaric—”

“Please don’t call me ‘master’, Throld.”

“Yes, sorry, Amaric. What I mean to say is that this particular tome is full of what the Magus would call ‘dangerous knowledge.’”

“Can you elaborate?”

“Suffice to say that Lady eld Caithra met an unfortunate end.”

“How unfortunate?”

“Fates worse than death.” It was a favorite of Albrith’s phrases when warning his students about the dangers of well-practiced thaumaturgy, much less careless sorcery or magic. Albrith never offered specific examples of fates worse than death, but the nature of their discussions of metaphysics gave Amaric much to imagine, none of it remotely pleasant.

“So you won’t help me find it?”

“No, my friend. I cannot. I would suffer a fate worse than death at the Magus’ hands if I did,” Throld said, no exaggeration in his voice, only the statement of fact.

“I understand, Throld. Thanks for the warning.”

Throld made a face that was as much a frown as a smile before returning to his copyist’s table—the kind of expression that desperately wanted to be one thing but could not help but be something entirely different.

Amaric smirked slyly at Throld’s back; he had just what he needed. Within the hour, he held in his hands a copy of Cadessia eld Caithra’s A Practical Guide to Deep Conjury, including detailed descriptions of many spirits. Not merely a casual and oblique reference to her conjury, a textbook.

Flipping through the pages made his head throb and spin. Complex diagrams and charts surrounded by tightly scribbled text danced before his vision as the pages spun from front to back. As they turned, they revealed unpleasant pictures of many things, things to which Albrith had alluded in his lessons or things about which Amaric had heard songs, legends and rumors back in his village.

He closed the book decisively, the thump of the pages slamming together echoing loudly through the library; Amaric cringed. He looked over the railing of the balcony toward the scrivener’s station and found Throld dutifully scribbling away. He held the book in one hand and began to make small gestures with the other, whispering words as he drew Power and formed the working. In a short moment, the book disappeared—in its place, a bundle of loose papers. So disguised, he walked nonchalantly past the scribe and through the door.

*          *          *

Amaric set the book down on the grand table. Within seconds, Emryn’s fingers were on both his shoulders, her cheek pressed against his, the wisps of her loose hairs tickling the back of his neck, her body swelling against his back with each breath, almond perfume in his nostrils.

“What’d you find?”

“Cadessia eld Caithra’s Practical Guide to Deep Conjury.”

“Oooh, how’d you find that?”

“Throld told me he’d made a copy not long back, so I just looked for books without so much dust on them. Came across it eventually. But, Emryn, this isn’t a good idea.”

“Explain.”

“There are true names and seals in here to be sure, but for nothing good. There’s nothing remotely safe in this book. Only beings from the Abyss.”

“Hmmm,” she said, to herself more than him. “Could we find something else, maybe?”

“I’m not sure there is anything else.”

“You don’t think the magus has more books with the names and seals of spirits? Surely he does.”

“I don’t doubt that, but I don’t think they’re in the library.”

“You think he has a secret library?”

“Seems fitting, I suppose. But, even if he does, there’s no way we’re getting into it. It’s gotta have wards and abjurations beyond anything we’ve seen so far.”

“True,” she frowned, conceding the point. “Mind if I spend some time looking in the library? Just in case there is something else?” She pecked his cheek as punctuation, an indication she meant no offense.

“I don’t mind. What did you end up with?”

“Salt, chalk, sage, athad dust, summerbride, beggar’s buttons.”

“All useful things for conjury. So, what’s the plan now?”

“I’ll check the library for alternatives; you study Lady eld Caithra’s book here to determine whether there is anything in there that we could reasonably summon. I know you’re concerned, so I’ll leave that judgment to you.”

*          *          *

Archmagus Albrith sat tentatively against one of the stone planters in the garden as he spoke softly and gracefully, his voice lilting as he expounded upon the arcane, the only indication of his passion and excitement for the subject emanating from his wizened and tired frame. A long wild beard masked the many creases and folds of the lower half of his face, drawing Amaric and Emryn to look him in the eyes as he spoke. Those eyes. They flashed with acuity, twinkled with delight in instruction, but also maintained a somberness that belied the serious demeanor with which Albrith always lectured.

“And so, today, my apprentices, we discuss the Law of the Soul and its pertinence to the magus. I trust you have finished chapter fourteen of Decambion’s Essence and Ephemera: A Book of the Law. Amaric, tell me, what is the Law of the Soul?”

“Yes, archmagus,” he said, the formality meant more to purchase time to formulate his answer than to show respect. “Um, the Law of the Soul postulates that no working can ultimately change the soul of any creature; that is, it’s True Self.”

“And from whence does the Law derive?”

“It’s a consequence of the Law of Essence, archmagus, which states that, though the existential aspects of a thing might be altered through an arcane working, the essence of that thing may not be.”

“Why, then, has your fellow apprentice Emryn proved able to change her appearance permanently, as I find you so often noticing?”

“I, uh—the appearance of her body is an existential aspect and not an essential aspect of her being.”

“Is it? Are her body and soul the same? The practice of conjury would prove otherwise, would it not?” An unfair question—Albrith had rarely mentioned conjury before, much less taught them anything of it.

“It would, archmagus.”

“Would it? Why?”

Emryn stepped in to assist. “Because the existence of disembodied spirits indicates that a material body and a spiritual self are not the same.”

Albrith’s eyes flashed as he turned his gaze to her. Not with anger, but with a kind of joy at the game they played. “Are you the same thing as a spirit or a demon, that what is true of them might be true also of you?”

“Not necessarily,” Amaric interjected. The two apprentices had become accustomed to working together to navigate Albrith’s mysteries, one buying time for the other. “But a working like Emryn performed required a sacrifice of sorts to maintain it. This requirement seems to indicate a need for maintenance of the effect, so the essence of her body is resisting the existential change to its appearance. If her body has an essence separate from her soul, then the two must logically be separate entities.”

The archmagus smiled. “Why does this matter?”

Neither spoke. They fumbled for the answer he sought amongst so many possible responses. While waiting, the archmage drew a pipe from a pouch at his belt, tamped a pinch of pipegrass within it, and snapped his fingers near the bowl of the pipe to produce the first wisp of smoke. A faint glow emanated from the pipe as he drew his first breath from it, allowing the silence to expand and fill the entire void around them.

Dressed in modest robes, Albrith could have easily been mistaken for a village cunning man rather than a full archmagus of the Thaumaturgical Conclave. Even the lower-ranked magi of the Conclave tended to dress in a fashion that made clear the importance of their position and profession. Neither Amaric nor Emryn understood the point of Albrith’s sartorial humility, though they often speculated.

“First,” Ablrith said finally, “it means that all the Art in the Avar will not change a person’s soul from what it is, not for long at least. You may fool a person with illusions of perception, you may force their body to act against their will, you may even influence their emotions for a time, but you will not change who they are. Only a soul can change its own essence in any permanent manner, and this without the Art. The theological implications of this may be discussed with the learned men of the Temple some time; it is not my concern.
“Second—since we’re discussing conjury—the disembodied spirit, for purposes of this discussion, at least, is the same as a soul when it comes to the Laws of Soul and Essence. You may capture a spirit, you may bind it to your service, but you will not change what it is. You can no more change an elemental of water into an elemental of fire than you can yourself become either. A demon is always a demon, and it will seek to ruin you even as it serves you. Note well that I say ‘ruin’ and not ‘destroy’ as the common folk would suggest. The Law of the Soul prevents a demon from truly destroying you just as it prevents you from destroying it. But there are many things a demon may do with a soul in its thrall that do not infringe upon the Law of Essence. This. This is why I tell you that there are fates worse than death.

“When you understand this, only then are you ready to become a magus.”

*          *          *

Another week passed before they broached the subject again; Emryn spending her evenings methodically sweeping the library and Amaric comparing Deep Conjury to the works Emryn had first collected for them. When together during that time, they focused either on the work Albrith had assigned them or on their more amorous passions.

Emryn began the long-awaited conference. “Well, Amaric, what’d you find?”

“You first, Em.”

“I found…nothing. A lot of nothing. I think you’re right; whatever else Albrith has that might be of use to us isn’t in the library. Which makes it important what you’ve decided.”

“Have you ever read the Conclave laws?”

“What does that have to do with anything?”

“They have some pretty specific things to say about the summoning of Abyssal spirits. As in ‘Don’t. Or else.’”

“No, I haven’t read them.”

“The penalties severe, to say the least. They’re severe to prevent exactly the kind of thing we’re thinking about doing.”

“Lot of good they’re doing, huh?” she smiled mischievously. “Besides, we’re not subject to Conclave law. As apprentices, we’re not full thaumaturges subject to the Conclave, but neither are we unlicensed practitioners—we’re under the tutelage of a magus. Albrith is the complete authority over us, and the Conclave stands behind him. Whatever he says goes for us. He’s spent two years training us already, you think he’d just give that up because we did some experimenting? Especially given some of the things we’ve heard about his youth?”

Amaric looked to his feet, but they had no guidance for him. She was right, of course, but after hearing what Throld had said he lacked Emryn’s confidence in Albrith’s leniency. He pressed a new argument: “The stuff in this book, it makes my head spin just to look at it. We know a bit of theory and some parlor tricks; this is way beyond us.”

“You remember when I…changed?”

Amaric’s face indicated the foolishness of asking the question at all. “Of course I do. Albrith made you clean and organize the alchemy laboratory for months after that, made you read the dullest books and write about them for pages, made you spend all of your free time tending the plants in the garden.”

“But he didn’t make me change back,” she said, triumphant. “He was proud, I think, to have so apt a pupil. Our lessons became more complex after that.”
“Yes, Em, but—”

“You’re welcome. Maybe we ought to think of this the same way. Maybe Archmagus Albrith is waiting for us to prove that we’re ready for more.”

She had a point. Albrith had proved a demanding master, one who expected his apprentices to prove themselves without his holding their hands. They saw him only a few hours each morning, when he lectured them or asked them questions until he found the point at which they could no longer make reasonable answer. Assignments for reading or for practice followed. This routine was punctuated by the days on which Albrith guided them through the performance of workings, demanding strict adherence to his teachings and perfection of form—on these days they worked from sun-up until exhaustion. There had been few of days of practical exercises in the last month, far fewer than they had become accustomed, and it did seem that Albrith was waiting for something. For what, exactly, Amaric had no idea.

“So?” Emryn asked, expectantly.

His nerves welled up within him. He had something to prove now, to Albrith, to Emryn. There was no turning back.

“Balsephon,” he said, shocked himself that the name had come from his lips.
“Who, now?” Emryn blurted.

“Balsephon. Eld Caithra puts him low in the Abyssal hierarchy, so we have as good a chance of binding him as we’re going to get.”

“A demon? Whatever happened to a lesser spirit, an Avaradh or something like that? Something that’s not dangerous.”

“There’s nothing in here about them, it’s all about Abyssal beings. It is the Deep Conjury after all.”

“And it’s why eld Caithra suffered a fate worse than death!”

“Emryn, you’re the one who wanted to do this in the first place!”

“But not a demon!”

“Did you find anything else we could try?”

“No. Apparently that’s the only grimoire in the whole library with information on specific spirits.”

“You said yourself you thought this was a test. That adds up, then.”

“You think Albrith wants us to conjure something from this book?”

Amaric paused. “I don’t know. It sounds crazy when you say it.”

“Well, what do you think?” Emryn said, resting her head on her hands as she leaned against the heavy table.

“What do you think?” Amaric repeated.

“I asked you first. Besides, this was supposed to be your decision, remember?”

“Let’s do it, then.”

“Really?”

“You don’t want to?”

“I didn’t say that. I just didn’t expect you to.”

*          *          *

Preparation began with the drawing of the ritual space, a set of circles within and around which were arranged arcane symbols of power and protection. Amaric had the steadier hand, so Emryn held the grimoire and guided his movements while he carefully applied chalk and vermillion to the stone floor in imitation of the patterns described by eld Caithra. On several occasions, Emryn caused him to stop, to erase what he had drawn and to start again, demanding an exact replication of the designs drawn by their guide.

When at last they completed the circle, they followed by preparing a ritual triangle in which to summon their spirit, proceeding in the same manner, inscribing the triangle with Balsephon’s sigil. Before they moved on, Amaric remembered a warding he had come across in their research; he had drawn the runes on scraps from the library and hung them on each wall and the study’s door, a final protection in case their working failed utterly—a protection not for the two of them, but for the rest of the world. They wanted to be responsible, at least. Amaric summoned and bound Power into the runes, leaving them dormant until they became necessary, which he hoped would not be the case at all.

The two added athad dust to the lamps, revealing the contours of the Veil without the use of the Sight, burnt sage in a brazier to dampen the spirit’s power, chewed summerbride to clear their minds. They sat for a time in silence with their eyes closed, holding hands, centering themselves. Or, trying at least, Amaric found himself distracted by the smell of her, the soft sound of her breathing, every ridge and valley of her hands. He thought of other nights when they had diverted themselves from study, of the fun they’d had together, when they’d talking about their lives before coming to Albrith’s manor or tangled themselves in the lustful passions of the young.

“Ready?” Emryn asked.

“Huh, um, yeah,” Amaric returned, shaking his head clear of its musings, feeling his center a little off-center.

She leaned forward and kissed him, a long kiss, meant to calm rather than to incite passion. Then she led him by the hand and they stepped into the circle delicately, taking great pains not to disturb any of the drawings. Together, they drew Power into the circle, slowly so as not to fumble their working with an excess of Flux from its very inception. When they could feel the comforting buzz of the protective circle, they set to the real task.

They moved about within the circle, incanting together the words of conjuration, feeling the air become heavy with Power, the room around them seeming to shift and bend, reluctantly flexing to make room for some foreign intrusion, the lamps flickering irregularly, as if the very air of the study had changed. They continued until memory threatened to fade, leaving one to misspeak a protective word or to forget a binding command. Time fled from all perception, or at least became irrelevant. Amaric began to wonder whether they had botched the whole thing.

Suddenly a noise echoed at the limits of consciousness, a sound like a curtain tearing. Within the triangle slowly rose an irregular mist, condensing into a fog before becoming a pillar of thick smoke, illuminated from within by sudden red flashes, as a storm cloud by lightning, revealing an obscured face in the midst of the plumes, malevolent and haughty; a demon.

Amaric thought he could make out shifting forms throughout the smog, miniature bodies twisting and writhing in agony as they flew tornado-like about the face within the smoke. The souls of those who had bargained with the thing or merely an illusion?

The demon did not speak. It waited, watching with unblinking eyes and a mouth that seemed to curl impossibly on both sides into a knowing and self-satisfied sneer. Amaric looked nervously to Emryn, hoping he had obfuscated his anxiety from the summoned spirit. Before either of them could say anything, a voice intruded upon Amaric’s mind, seeming to well up from within rather than spoken aloud. The voice whispered loudly, a sibilant and raspy sound that pulled at the nerves like a dull headache: Astavaten ghastoleem pertar. Saaberis tusumel.

“What?” Amaric asked in a voice too loud for the heavy silence within the room.

“I didn’t say anything,” Emryn responded.

“You don’t hear that?”

“What do you hear? Is it talking to you?”

“I think so.”

“What is it saying?”

“I don’t know, I can’t understand it.”

“Is it speaking Vessewar?”

“Probably.”

Pity, the whispering replied in Amaric’s head. I thought I might have been summoned by someone with real power to exchange for my services. Seems I’ve been called by too-clever children, hmm? Fortunately for you, I speak Ealthebad well enough.

Emryn’s face twitched, her eyes becoming large as she swung them back to the demon-smoke, pricking up her ears, her left hand tugging aimlessly at the braid in her dark hair. “It can’t hurt us while it’s in its space and we’re in ours,” she said in a whisper directed at no one.

The face in the smoke seemed to grin further, into absurdity, upon hearing her words.

“Normally,” it said, this time the voice coming from the manifestation before the apprentices and then echoing from within their minds, “I don’t like to be disturbed without getting something for my trouble. You’ve used the stick when you should have used the honey, hmm?”

After a pause to let the last syllable float in the air awhile, the demon continued. “I suppose I could make you decide between yourselves who I should take and who I should spare. That would be mildly entertaining, at least.” At this, the purgatorial spirits circulating the edges of the swirling cloud seemed to open their mouths at once, a cacophony of distant screams erupting from the multitude of orifices.

“You have no power over us,” Amaric said.

“No, young one? Would you care to wager on that?”

“You’re a liar.”

“Yes, I am. But not always. Do you think your drawings in the mud will protect you from the likes of me? You are my playthings; it cannot be the other way around, hmm?”

Emryn stepped forward within the circle, her face set in determination. “Balsephon, I bind you by the Name of the One, by Their servants the Eradhai, and by the Power of Creation. I call you by name and bind you to my service, that you may do no harm but only that which I command.”

The demon’s expression changed at the sound of the name. The cloud of red lightning condensed into the shape of a man, pale with dark hair, naked and handsome. The man’s face wore a mask of fear; he knelt within the triangle and clasped his hands together. “Please, no, mistress. Let me go back to my dwelling-place and I shall leave you in perfect peace. But do not bind me to service, do not make me your slave!”

A grin curled at the edge of Emryn’s mouth, her confidence complete. Amaric let out a sigh of relief and Emryn repeated the words of binding.

“Mistress, no! I can show you such wondrous secrets, give you such power, if you will but let me go!”

She spoke the binding a third time and there sounded a crack like thunder. The demon-man began to float in the air, arms and legs pulled back as if bound by invisible chains. He tried to cry out, but his voice was stopped by unseen force.

“Balsephon, I permit you to speak,” Emryn said.

“What shall I do for you, mistress?” the demon’s voice rasped. “Shall I show you the pleasures of the Beyond that are unknown in this world? Teach you thaumaturgies that have not been practiced in the Avar in centuries? Spy on your enemies?”

“No, Balsephon, you shall dance for me.”

Once she spoke the words, the spirit returned his feet to the floor, moving them with infernal speed in a jig of sorts, his face contorted with displeasure that made it clear he could do naught but obey. Emryn laughed. “You may stop,” she giggled. The spirit floated again, moored to the ground as a tethered airship.

“What shall we do next?” she asked Amaric.

“Let him go. We’ve done what set to do. Let’s not push our luck.”

“It’s perfectly fine, don’t you see.” She turned back to the demon. “If I let you go, do you promise that you will seek no revenge upon us, no matter the opportunity?”

“Yes,” the spirit let out in a long, soft groan.

“Do you swear it?”

“Yes.”

With that, Emryn stepped through the protective circle, its power collapsing in on itself and leaving only the thrum of the demon’s presence as a disturbance in the still air.

As she moved toward the demon, it returned again to her feet. She hesitated for a moment, and the pale man grinned at her. “But I have bound you by name!” she said, terror rising in her voice.

Amaric opened his mouth to yell a warning, but it was too late. The demon moved to Emryn with devastating speed, wrapping her in his arms and pressing his mouth to hers in a lascivious and obscene kiss. As their lips met, the demon’s form began to blur, and then to shift, to become smoky again; her mouth drew the foul smoke into her until she was left standing alone. But it was not her.
“Yes,” said the demon’s voice from within Emryn’s body, her eyes now ablaze and no longer her own. “Let’s do play the game I mentioned.”

“But you swore,” Amaric pleaded.

“I told you I am a liar,” the demon sighed, Emryn’s face twisting with delight.
“What game?”

“The one where the two of you decide who lives and who dies, hmm?” At this, arcs of red lightning began to crackle at Emryn’s fingertips and she rose from the ground, her legs hanging limply beneath her.

Though he would regret it for the rest of his life, Amaric did what all sense within him told him to do; he ran. Quick as he could, he turned for the door to the study, opened it just wide enough to squeeze his thin body through, and pulled it shut behind him, uttering the words to activate the dormant warding. The sound of sizzling lightning and thunder crashed against the ward just as it formed; a thumping at the door followed.

“Amaric? Amaric help me!” came Emryn’s voice from within. The young apprentice put his hand back to the door but resolved himself not to open it and break the ward he had created.

*          *          *

He ran, sprinted, through the cold hallways of the manor to Albrith’s apartments. He shouldered into the door without knocking, finding it unlocked and barely latched; the wooden door slammed into the wall with a crash.
Albrith sat in a chair facing the door, smoking his pipe. His expression lacked all surprise; his eyes brimmed with expectation.

“It has not gone well, I take it,” Albrith inquired as if asking about the weather. The old archmagus stroked his short grey beard as he spoke.
“Y-you knew?” Amaric mumbled.

“Of course I knew, boy. What kind of negligent master do you think me to be?” There was no anger in his voice; he spoke calmly and flatly. Amaric would have preferred yelling. The soft voice threw him off his guard and made him fumble for understanding. “Your ward is holding; that is good. A fortunate thing you are clever. But now, how do we go about resolving this tragedy?”

“A lesson?” Amaric began, his face scrunched up in bewilderment. He flashed with anger. A LESSON!”

“Calm yourself, boy, you have much work to do and not much time to do it in. That ward will not hold forever.”

Amaric felt a wave pass over him and his rage subsided. The magus had used a subtle sorcery to calm him. He wanted to be angry about it but could not muster the emotion.

“Tell me what happened. Every detail. Leave nothing out,” Albrith commanded.
The apprentice did as bidden.

“So what went wrong, Amaric?”

“I don’t know.”

“You do. Think.”

“We made a mistake in drawing the circle,” the apprentice chanced.

“But the demon did not make his move until Emryn stepped out of the circle.”

“Then the binding failed?”

“Good. Why? Speak the words Emryn used, exactly as she used them.”

Amaric tried to match the intonation and rhythm of Emryn’s words as he uttered them: “Balsephon, I bind you by the Name of the One, by Their servants the Eradhai, and by the Power of Creation. I call you by name and bind you to my service, that you may do no harm but only that which I command.”

“The words are good. What went wrong?”

“Something about the name.”

“Yes, Amaric. Good. What about the name?”

“She said it wrong. It’s not enough to simply say the spirit’s name, it must be pronounced true.”

“That is true. But the name was said well.”

Amaric thought for a moment, his nerves calmed but the evening’s events still racing distractingly through his mind. He searched for some clue. Finally, he spoke.

“It’s not Balsephon.”

Albrith smiled and puffed from his pipe. “Very good. There is some hope for you yet. How can we know this for sure?”

“I don’t know.”

“The spirit is trapped within the warding of your study, yes?”

“Yes.”

“And a manifested spirit cannot be two places at once, yes?”

“Yes.”

“So?”

Amaric said the words slowly, buying time as he tried to think on them before saying them. “We try to summon Balsephon somewhere else. If the demon in the ward is Balsephon, he will not appear when summoned. If it is not Balsephon, then he will appear when properly conjured.”

“Precisely, boy. And now it is time you witness a proper conjuration. Come.” Albrith rose from his chair.

“But what about Emryn?”

“We will discuss Emryn when we know who we’re dealing with. Be patient.”

*          *          *

Albrith’s ritual room connected to his apartments, a large space with high-vaulted ceilings and a large two-story window at the far end of the room, pointed East. There were no chalk drawings here; Albrith’s protective circle had been inlaid into the stone, made of gold, copper, silver and other metals Amaric could not readily identify. A private library of grimoires occupied the room’s southwest corner, while the northern wall held shelves of reagents, magical tools, and shallow stone slabs inlaid similarly to those on the floor. Amaric looked again to the protective circle and saw that the tiles were interchangeable—a sort of arcane moveable type. Albrith had already laid out the tiles to match the designs that Amaric had drawn by hand.

Near the ritual circle stood a small lectern on which on open book displayed the pages of eld Caithra’s notes on Balsephon in young ink, the pages and binding still fresh and new. Everything lay ready.

“Step into the circle, boy.” Albrith ordered. “You will do nothing; you will say nothing. You will watch. And learn.”

He did exactly that. Albrith never even looked at the grimoire; he had committed the entirety of the ritual to memory. His movements were precise and subtle, his words exquisitely formed, intoxicating in their rhythm and timbre. Again Amaric lost track of time, but this time Albrith’s mastery of technique and not his own exertion caused the effect.

A form appeared in the summoning triangle, as if raised to the stage from a lift below. Amaric shuddered to look upon the thing before him, a blasphemous contortion of bodies both human and animal in an amorphous conglomerate. Briefly, Amaric pitied the creature, but his fury at Emryn’s condition quickly pushed aside any sympathy. As if sensing the emotions, Albrith held his hand behind him as if to silence Amaric before he even began.

Albrith said the words of binding in quick succession—still beautiful in their performance but marked by a cold efficiency that flows from dispassionate determination. There was no melodrama this time, the demon simply cocked its head in response to the words.

With a wave of his hand, Albrith released the power of the summoning triangle, but Amaric could still feel the protective circle like a warm blanket on a cold night. The spirit did not move; it stood blinking at Albrith in motionless expectation.

“Speak your name true, demon,” Albrith admonished.

“I am called Balsephon, magus. But you already know that, for you have bound me by that name.”

“Indeed. Now begone from me.” The old magus waived his hand dismissively as a king or a rich man might do. The demon shrank into nothingness and the circle of protection dissipated as well. “As we suspected…”

“Now what, master?”

“Since we do not know the spirit’s name, we cannot bind it. We must instead banish it.”

“How do we do that?”

“A demon who has the power possesses a mortal to gain protection from banishment—while the spirit occupies Emryn’s body, we cannot remove him from the Avar.”

“And how do we get him out of Emryn’s body?”

“We destroy it.”

“What? No!”

Albrith grabbed his apprentice by the shoulder and stared into his eyes. “There is no other way, boy. Emryn is already gone; a demon such as this will not share flesh with another spirit. Look at me, Amaric! What is done is done. You have made a mistake and it has cost Emryn dearly. You must do what you can to make it right. Who else might suffer if the demon is allowed to roam free?”
“You do it, master. I cannot.”

“You can and you will. This shall be done by the two of us together or not at all.” With that, Albrith walked to the northern wall and pulled a long, thin blade from one of the shelves. He pushed it into his apprentice’s hand, delicately seizing the blade with three fingers and pulling Amaric’s arm forward into a thrust. “Through the heart, boy. You will make it quick.”

*          *          *

Amaric rushed into the study behind Albrith, who entered with staff readied, a shimmering sorcerous shield raised before them. Emryn floated several feet above the ground, slinging ruby lightning and laughing as master and apprentice barged in.

The apprentice cringed behind the shield with each burst of energy that cracked against it; he had never witnessed such raw sorcery before. He quickly decided that he would not mind if he never did again.

Albrith went to the offensive, sending a long gout of blue fire at the Emryn’s body. The lights flickered and died, leaving the flames to illuminate the darkened room. The demon seemed to push the flames away from itself as if by raw will, but the magus slammed his staff to the floor and the apprentice’s body fell to the ground with a thud. “Go,” Albrith whispered to his apprentice.
Feeling again the dulling of his emotions by Albrith’s sorceries, Amaric pressed forward, the fear welling within his stomach but confined to a bodily discomfort rather than a mind-crushing force. As he neared Emryn her body lifted into the air again, not high, her toes dragging the ground.

A dull halo surrounded her now, pink or red. Amaric pulled back the blade, but when he met her eyes he found not the raging flames he had seen before but the deep blue pools in which he had so often lost himself. “Please…no…Amaric,” came Emryn’s voice, her eyes beginning to water, a tear running down her beautiful cheek.

He hesitated. “Destroy it!” came Albrith’s command from behind him. He loosened and tightened his fingers on the blade, wondering why the demon had not attacked him.

Emryn continued to stare at him through the flickering light of Albrith’s sorceries. She was in there, somewhere. Albrith was wrong; Amaric knew it. He turned to look at Albrith. “I—”

“Now!”

When he turned back to his companion of these two past years, he saw her true. Not as the young woman who had crafted herself with the Power, but the lovely plainness she had arrived with. Tears streamed down her cheeks now, and he found that they ran down his face as well.

“Please!” she sobbed.

But Amaric opened his eyes with the Sight, and he could see only the demon within Emryn’s body. He screamed in pain and rage and fear, thrusting the blade into her chest. It slid in with a sickening ease, as if he were only sheathing it. Red blossomed across her dress as he pushed the blade to the hilt. Still yelling, he pushed the body off of the sword with his left hand, watching Emryn’s eyes go wide and flash with red flames before her body crumpled, the demon rising out of it.

“Get out of the way!” shouted Albrith behind him.

Amaric leapt to the side as the spirit slashed at him with long talons. He hit the stone floor hard, knocking the breath out of him. Rolling over, he looked back to the demon and his master, now locked in deadly combat.

Albrith kept the pale man at bay with his staff, all the while speaking the harsh words of Vessewar. The demon tried to keep pace, incanting black words of his own, but Albrith was too precise, too focused, too practiced. The pale man changed back into the flashing, malevolent face within the dark cloud, surrounded by the miniature spirit-bodies caught within the storm. Just before it disappeared altogether, Amaric thought he saw Emryn among those pour souls, screaming and writhing alongside them. He screamed again, feeling the pain of the sight throughout his whole being.

And then it was over. Albrith, sweating and fatigued, came to his apprentice and offered his hand, helping him up from the stones. “What have you learned?”
Amaric wiped the tears from his face, but they did not stop. He stared blankly at his master, incredulous. “But, Emryn—”

“We will speak of Emryn no more. You will not have time to mourn her. Tomorrow our work begins in earnest. What have you learned?”

“I’ve learned that I don’t want to be a thaumaturge anymore,” the apprentice gasped between sobs.

“Then you are ready to be one. Now you respect the Power and what it means to meddle in things you do not understand, I can safely teach you what wielding the Power truly means. I am sorry the cost has proved so dear.”

“Bastard!” Amaric spat.

“I am, but the Power is a harsher master than I; I will not have you wielding it unprepared. I will have Throld bring you something to help you sleep. Give him Lady eld Caithra’s book when he comes. We begin at sunrise, which is not far off.” With that, Albrith left unceremoniously.

As long as he lived, this night would weigh heavy upon him, the guilt of it a thorn over which the skin had already healed and that could not be pulled free. But Emryn, he feared, would suffer far worse. For both of them, a fate worse than death.

Writing “Race” in Fantasy

Every aspiring fantasy author or worldbuilder must eventually answer the question of what kind of sentient beings will populate his or her world. At that juncture (again) myself, I thought I’d write my way through the problem(s). I’ve agonized over and over again in designing Avar Narn about what “races” (they should really be called “species,” I think) would occupy that world. I’ve made changes and undone them, remade them and tweaked them over and over and (I hope) I’m ready to finally make the decision once and for all. We’ll see at the end of this post.

So what are the problems about “race” in fantasy works?

(1) Ideas of race have meaning and are problematic. Since you’re on the internet to read this, I’m going to assume that you’re aware of how big a deal race currently is in our world (and in the U.S. in particular). How we discuss and think about race is important, and it’s quite easy to make a misstep.

From one perspective, having various races (I’m just gonna say species from now on) in your fantasy world can do a lot for you.

First, the genre is called “fantasy”—readers want to see the fantastic. It’s part of the fun. Second, you have an instant source of potential conflict (and therefore plot) when you have groups of people (in this case fantastic species) who are unlike one another.

If we want to be highbrow, the encounters between different species allow us to look at “otherness” (to borrow the academic term) in a lot of interesting ways—we can analyze and critique how we (by our culture, our ideologies or our very humanity) define and react to the Other. We can, if we want to be heavy-handed, even talk about specific races race-relation issues in the real world through the metaphor of created fantastic species. To be honest, I’m not sure how you could portray enslavement in a written work and not have an American reader not think about the historical slavery of blacks, and the line between what is said about slavery in general and what is a specific commentary on the experience of a particular people is blurry at best.

At the same time, when we create a fantasy species, we have to bring them to life and individuate them. It’s no use saying “these people are like humans, but they’re blue and have an extra eye.” If our differences are only cosmetic, readers will be understandably disappointed in the lost opportunity. But defining peoples and cultures is difficult, and it’s tempting to resort to shorthand: “These guys are like Tolkien’s orcs, but they’re more intelligence and have a culture like ancient Egypt.” Time constraints and a desire to give the reader quick access to understanding of a story push us in this direction. But there’s a trap here—this sort of cribbing can easily drive us to base our fantastic species off of racial stereotypes.

Even Tolkien was guilty of this. He later acknowledged without reservation that the dwarves in his stories had a lot in common with European Jews. Re-read the stories (or re-watch the movies) and think about that—Tolkien’s dwarves have big noses, are geographically displaced, are often greedy and selfish. If the dwarves weren’t such beloved characters, we’d really see some elements of anti-Semitism here. I’m not saying that Tolkien was anti-Semitic; I have no idea about the answer there. But if it’s possible to say that his portrayal of the dwarves perpetuated negative Jewish stereotypes (mostly medieval ones that somehow persist in this case), something negative has been accomplished through writing, and that’s to be avoided.

(2) Clichés. Look at some of the most popular works of current fantasy fiction (A Song of Ice and Fire and The Name of the Wind both come to mind) and you’ll see settings in which you will not find elves and dwarves and Hobbits. There are several reasons for this.

If you want to have fantastic species in a setting or story, ask yourself, “why?” really. Can you tell the same type of story (or even the exact same story) with humans instead of different species? In most cases, the answer is “yes.” If there’s an Occam’s Razor of writing, maybe this is where it best fits—don’t put things in the story you don’t need. That advice sounds really good, but that doesn’t mean I can bring myself to follow it, necessarily. Sometimes there are things I want a story to have.

The more important reason, I think, that there’s a current move away from fantastic species in modern fantasy, or at least the “standard” species (elves, dwarves, halflings, etc.) is that the portrayals of these species has become hackneyed. We’ve had the same pointy-eared elves and pseudo-Norse dwarves for seventy years and, after a while, that starts to lose its fantastic luster.

This is partially a result of Tolkien’s looming presence over the genre—if you’re not doing it like him you’re not doing it right—but it’s also a result of the influence of Dungeons and Dragons. Multiple generations of fans of fantasy have grown up with the roleplaying game’s definition of elves and dwarves (influenced, of course, by Tolkien) setting the standard. We writers now must worry that, if we change the stereotype, readers will say, “that’s not what orcs are like!” while established writers (and many readers) also say, “if you’re using the same old stereotypes, you’re not writing something worthwhile.” I don’t think that the latter statement is necessarily true, but the risk of writing overly-derivative works certainly increases with the use of the “stock” fantasy species. As an aside on that note, perhaps we could argue that the “stock” species should be thought of in the same line as Commedia dell’Arte: as stereotypes that allow us to quickly pull in the reader and get on with the story. After all, avoiding an infodump is usually a good thing.

To be clear, there are modern writers doing wonderful things with (at least mostly) traditional stereotypes. The books of The Witcher world contain elves and dwarves but manage to depict them in a believable and relatable conflict with humanity (that disturbingly resembles a race-war, because it is one). Of course this works especially well for Sapkowski in the larger context of taking traditional fairy tales and twisting them for his own purposes.

(3) It’s impossible to get inside the head of ultimately alien creatures. As humans, we simply cannot fathom what it would be to be a thousand-year-old elf with confidence in her immortality. How differently we would view the world.

To be fair, that’s a surmountable obstacle. We also cannot create a character who is actually every bit as complex and idiosyncratic as a real person. But we can create the illusion of the same. The same principle applies to writing about fantasy species (or alternatively, alien cultures in sci-fi settings)—we can create the illusion of unfathomable otherness.

Though crafting the illusion is possible, it’s nevertheless very difficult. It requires great care and thought to do well, otherwise you end up with phenotypically-variant humans and nothing more.

It’s not enough to give them a culture based on human cultures, I think. If you’re going to create species that really deserve to be something other than humans, they should really feel different, probably even uncomfortable (but not necessarily frightening).

(4) Complicated Relationships. I grew up a big fan of the Shadowrun setting. One of the things that bugged me about it though, is how they treated race. By this, I don’t mean the fact that there were Orks and Trolls and Elves and Dwarves, but about the ethnic differences we tend to mean when we use the word “race” in modern context. The Shadowrun rationale was just too simplistic.

The explanation went something like this: “Twentieth-century racism is a thing of the past. People don’t care about someone’s skin color anymore when the troll over there can crush you with his bare hands.” In other words, the existence of the alternative species of the Shadowrun world had completely subsumed “traditional” racism.

There’s no reason to believe that that would be the case even if people in our world were to suddenly turn into elves and such. There’d still be plenty of “good ol’ fashioned racism” to go round.

This is just an example of a problem that’s really inherent to all fantasy writing–the need to balance complexity with both the writer’s time and energy and the importance to the story.

(5) Monocultures. This relates closely to (4). Humans have a diversity of very different cultures, ideologies and values, but fantasy species tend to be portrayed as monolithic. This practice is most prevalent, at least in my experience, in roleplaying games. A setting may have many different human cultures for players to choose from for their characters, but only one for any character of a non-human species. Sometimes there are two or three options, but these are not terribly fleshed out and are based more on in-game bonuses than real cultural differences. The ad absurdum example, of course, is early D&D, where you could have either a class (magic user, thief, fighting man) or a “race” (like elf). That’s right, all elves are so similar that they need only the name of their species to define their abilities.

The point is, believable species must have individuation between groups and between individuals. If you’re using elves in your fantasy world, they shouldn’t all be flower-loving hippies (or, even more offensive, all be evil if they happen to have black skin). It takes extra time, yes, but if you’re going to be using fantastic species in your writing, they ought to be diverse like humans are diverse (or there had better be a good reason why they have a monolithic culture).

(Potential) Solutions

(1) Avoid the subject altogether. Just don’t use fantastic sentient creatures. Throw in all the griffons and gargoyles and what not that you want, but leave the thinking, feeling characters human.

(2) Cheat. Here’s what I mean: in Avar Narn, several of the fantastic species used to be human—they were reformed, accidentally or on purpose, willingly or not, by magic. That’s happened long ago enough that they’ve developed somewhat alien perspectives on existence and certainly cultures that vary from those of most human cultures, but it leaves within them a core of humanity that somewhat eases the problem of creating an entirely alien culture—humans will definitely be able to relate to these beings on some level, but not completely. One of the reasons that I’ve chosen this path for some (but not all) of the fantastic species in Avar Narn is that it reinforces one of the setting’s themes—the horrible things that humans would do to themselves if given the power to reshape the world through magic.

(3) Be defiant. Just say, “Damn the torpedoes; full speed ahead!” and use the traditional fantasy “races” in your stories or setting. If you write those peoples in a believable and interesting way, and especially if the other aspects of your stories are well done, you won’t have to worry about most people complaining. Ignore the ones who complain anyway.

(4) Use alternate mythologies. Tolkien was a philologist, a student of (ancient) languages. He had spent a long time studying Old English and Old Norse, and he drew from Germanic mythology to create his elves and dwarves. But there are many other cultural mythologies from which could be drawn a plethora of new and interesting species to populate your fantasy world. There are plenty of authors, published and not, taking this tack, though, so move quick (this is what Miéville did in Perdido Street Station and the books that follow, for instance).

(5) Use Archetypes. Here I mean Jungian or Campbellian archetypes. I’m not sure that I buy into the whole “monomyth” thing, and I’m a little skeptical about there being a collective unconscious from which we separately derive the same concepts (fascinating as that idea is—especially for fantasy writers). But there are some very common “places” occupied in various mythologies around the world—there are “hidden folk” in both Scandinavia and Southeast Asian countries, smith creatures in all manner of cultures, creatures to be sought for wisdom in many mythologies. So, find those common themes and, instead of drawing upon an existing mythology to find your fantastic species, create your own that fits the motif. Both dwarves and giants are associated with smithing in various European cultures, so what other type of creature might fit there?

(6) Do the twist. Take a traditional fantasy race and tweak it until it’s either an interesting and innovative take on the species or no longer resembles the original concept.

(7) Use biology. Look to how organisms develop and change based on environment and use that to create your fantastic creatures. There’s a caveat here, though—you’re creating a world that readers will be willing to suspend disbelief for, not an alternative science textbook (unless, of course, that’s your postmodern, avant garde sort of writing style), so use what you need and maintain plausibility to the extent you can, but don’t worry too much about having things perfect. And avoid the math. For the love of God, avoid the math.

(8) Create from scratch. This is not “create ex nihilo,” which humans are incapable of doing. But, if you take your building blocks from less-visited wells, you can create something that feels different and unique.

(9) Relax. At the end of the day, the important question is not whether you include or exclude elves in your fantasy—it’s whether you craft a world that seems to make sense (that is at least internally consistent and plausible-seeming based on human experience), craft species and characters that are entertaining and interesting to read about, and tell stories that draw the reader in and make him not want to finish. Can you do that with stories that include elves? Yes. Can you do it with stories that have unique fantasy species? Of course. Could you do either badly, absolutely. So suck it up, figure out what you want to have in your world, do your homework to create diverse and interesting inhabitants for your setting, and get writing.

Have I made my own decisions now? Not exactly, but at least I’ve given myself the kick in the pants I needed to make my final decisions and let it ride.

Worldbuilding: An Education

Before I went to law school, many people (all lawyers, so understand the bias) told me that formal legal training is the best education you can get, regardless of whether you practice law. Law school was an excellent education; one that I’d never wish on anyone.

Still, I think that there is a better education to be found in the world—particularly with the availability of the internet, e-books (free through your library) and other high-speed, low-drag materials. That education is the art and practice of building fantastic worlds.

For me, most of the things that stick best with me are the things I learned for myself, through my own motivation, initiative and follow-through. This likely has something to do with increased investment and meaning in the subject matter because of the intrinsic motivation to study it, but the reason why the subjects I seek out to study seem to be better retained don’t really matter. I do believe, though, that we live in an age where, with resolve and resourcefulness, one can learn almost anything without setting foot in a classroom. Snorre, our exchange student last year, learned to play guitar by watching YouTube; by the end of his stay he could play Hendrix, Zeppelin and B.B. King.

Worldbuilding has become a more mainstream (though not really mainstream) hobby in recent decades. This has to do in part with the internet allowing people with similar interests to easily find one another, the increase in popularity in roleplaying games (probably the greatest single motivator of worldbuilders), the move of the fantasy and sci-fi genres into mainstream culture and, as I’m doing here, the relative modern ease of getting your ideas and creations to the world.

For many, as for myself, worldbuilding started as a means to an end—I wanted a setting to write stories in and to run my roleplaying games in (although I’ve found that, since the two mediums have broadly different goals, the same setting isn’t necessarily suitable for both). Once you start, however, the seduction of creation for its own delight may easily take over. There are some who will admit that they build worlds simply because they love the creation of fantastic peoples and places; these are an honest bunch who probably derive the most pleasure from worldbuilding, enjoying the thing for what it is.

But this post isn’t about how to derive pleasure from worldbuilding (although, with all the writing that is done nowadays on the subject, why does no one talk about this?); it’s about the education worldbuilding gives you.

Quite simply, building a world requires some knowledge of everything. You need at least passable understanding of language, culture, religion, history, geography and cartography, psychology, mythology and folklore and the sciences to create a world for which people are willing to suspend disbelief. Start there, and you’ll quickly find the things you’re really interested in. For me, it’s history, literature, legend, religion and historical occult beliefs (things which, conveniently—or perhaps causally—I studied formally); these are the subject about which you will seek to become something of an expert to make your world “stand out.”

Then there are all the beautiful rabbit trails of things that you could probably fudge and have a reasonably believable fantasy world but which add much to the world if they’re well-incorporated: astronomy, anthropology, archeology, warfare and military history, the attributes of fringe social groups, specific interesting human histories, the art of writing itself, the geo-sciences (including advanced geography, weather and climatology and much more), technology and almost other possible realm of human knowledge.

If you catch the bug to build a world of your own, you’ll find yourself asking many questions that spur research: Why does this sort of thing happen? How does this work? What would this kind of society be like? How would this event change the world? Or, as I found myself asking this morning: Where is it that swamps usually form?

The task in and of itself is a daunting one—not simply because of its scope, but also because of the thorough and excellent work that others are doing and displaying on the internet. The real bugbear, of course, is Tolkien, who has caused us to mistakenly believe that a created world is only a good one if we have invented and codified each of the world’s languages, written down detailed histories of all of the peoples (the History of Middle Earth edited by Tolkien’s son is twelve volumes) and that everything must be clearly defined and described in writing for posterity. We have to keep in mind that, realistically, Tolkien was a worldbuilder for worldbuilding’s sake; his stories, though beloved, were derivative of his worldbuilding. He did not build Middle-Earth so that he could publish books.

If, like Tolkien, our worldbuilding is really for our own pleasure, it can be as detailed or shallow as we like, as fanciful or as serious and deeply believable (for fantasy, of course) as suits us. We can write as much or as little of it down as we want to keep and share. All the extra work of cataloguing and consigning to words our creation is optional. We need only go so far if (1) we enjoy doing so or (2) we have a specific use for the created world that would benefit from writing down its details for later reference.

Given that, anyone can be a worldbuilder without an over-investment of time and energy. You can craft your world while driving in the car, standing in line, waiting for something, working out or doing all manner of other thing. If you don’t want to write it down, worldbuilding is simply an advanced game of “What if?” you play in your head.

Most of the greatest advice I’ve ever received in my life I got as an off-hand statement from someone else, probably because that person had so incorporated the idea into his mindset that it seemed too obvious to need special attention called to it. While studying medieval and Renaissance literature at UT Austin, Professor Frank Wigham advise his class to “be interested in everything.” I’ve tried to follow this advice since and have found that the pursuit of some knowledge of as many subjects as I can manage has thoroughly enriched my mental life—for the knowledge of itself, for the new ways in how I see the interrelation of things and ideas and for the strange ways an understanding of one subject helps one to think about other subjects.

This is the reason I recommend the hobby of worldbuilding to everyone; the practice gives you some tangible reward for taking in interest in all aspects of existence. If you haven’t done it before, give it a try. This time next week you might be spending hours following rabbit trails through Wikipedia as you research little-known cultures and peoples (look up the women-warriors of Dahomey, for instance), visiting the library (in person or electronically) to find deeper and more nuanced sources than what you get from the internet, imagining places for you to play in imaginatively for years to come. You will become interested in everything, and better for it.