Arts & Entertainment
Lesson time 23:00 min
Learn Neil’s philosophy of worldbuilding, including how to create compelling and believable settings for your novel, and how to avoid the common pitfalls many inexperienced writers make.
I think that the joy of worldbuilding in fiction is honestly the joy of getting to play god. Because as an author, you get to build the world. Some authors do it a little more invisibly than others. In the same way, as far as I'm concerned, all fiction is fantasy. It is all made up. You are creating people who didn't exist or didn't exist like that, and putting them into situations that they were never in, making them say things they never said. It is an act of magical creation to do that. When you're starting out as a young writer, especially a young writer wanting to explore the fantastic, wanting to create places that are not, the urge, which you should always try and push back against, the urge is to take places from fiction. You know, it's the urge, the fan fiction urge. And fan fiction is great in its place, but if you are going to be a young writer and you are going to want to create a world, you do not want a world that you borrowed from Tolkien. What you want to do is look at the world outside. Look at the world outside your window. Get out there onto the streets. Look at places. Think about the places that you've been, and then change them. Make them bigger. Make them smaller. If you're somebody who's only ever been to school and you think you have nothing to write about except school, what would that school be like if it covered an entire city? What would that school be like if it was an island? What would that school be like if it was floating in the sky, and people only got to visit it dragged on the backs of enormous birds? How do you get into that school? That gives you a place, but it gives you a place grounded in realism. Because the moment that you start describing a school, if you know a school, you know the things that make schools weird and unusual. The smell of cooking cabbage, or the smell of sports clothes unwashed in lockers. You know what that place is. You know what kinds of people are there. Every little detail that you can steal from the world and smuggle with you into your fiction is something that makes your world more real for your reader. But much more important, it makes it more real for you. You need to be the one who believes in your story. You need to be able to believe in your places. If you are building a world, you have to care about the world. And sometimes, you're also going to have to stop and ask yourself weird questions. Even if those questions are not answered in the text, it's always good for you to know. Where do these people go to the toilet? Where do they get their food from? How much food does it take to feed a small city? How much farm land? Where are these farms? Where does the food come from? Where does it come in? And suddenly, you're asking yourself questions that it's good for you to know, even if you don't want ever to turn your book into a treatise on medieval economics. If you're writing something set in medieval times, do your homework. Go and look at pla...
Award-winning author Neil Gaiman has spent more than a quarter of a century crafting vivid, absorbing fiction. Now, the author of Stardust, Coraline, and The Sandman teaches his approach to imaginative storytelling in his online writing class. Learn how to find your unique voice, develop original ideas, and breathe life into your characters. Discover Neil’s philosophy on what drives a story—and open new windows to the stories inside you.
Very inspirational, only reason I gave four instead of five stars is I liked Patterson's just a hair more...
It's the 'putting yourself out there' that i needed to hear. I can write. I can edit. I can get people to like my work. I've been rejected, but it slows me down… sometimes to an army crawl. It's time to stop crawling.
it has given me confidence in my voice. to believe in my story that i'm telling
Some really great advice and insights. Sometimes a bit long-winded.