This post is reblogged from my writing blog, Stefras’ Bridge.
For fifteen minutes after every lunch when I was in grade six, from her desk in the far front corner of the room, Penny Gwillim read The Hobbit and The Lord of the Rings to our class. I was already a storyteller by then, but those stories read by Penny Gwillim inspired me to write.
Tolkien populated his world with story. Every named element — person and place — had a purpose and story built into it. Every horizon hid a land beyond. Each name and land had a history and significance. This built boundless depth and breadth into Tolkien’s world. And, as these persons and places overlapped, so their purposes and stories intertwined.
Today’s post is about world building. It is about creating endless story potential by mapping instead of outlining.
My favourite Tolkien quote is this.
A story must be told or there’ll be no story, yet it is the untold stories that are most moving. I think you are moved by Celebrimbor because it conveys a sudden sense of endless untold stories: mountains seen far away, never to be climbed, distant trees (like Niggle’s) never to be approached — or if so only to become ‘near trees’ (unless in Paradise or N’s Parish).
— J.R.R. Tolkien (1945)
He also extolled, in the same letter (1945), “the heart-racking sense of the vanishing past”.
Tolkien’s underscoring of names and unexplored-places-beyond-horizons with histories and stories, to me, is a powerful way to build worlds.
Plotting and Pantsing
I am a plotter and a pantser. I typically write short stories and poems on my computer with no plotting nor sense of where the story is going, other than the steeping inspirational idea. Many of these stories and poems comprise my best writing. They sing and dance for others and me. Long stories and “important” poems I sketch, write on loose-leaf, then after several versions revise and edit further on computer.
The sketch is my tool of choice: a quick list, map or outline of places, events, scenes and characters that I typically then ignore and pants around. On the continuum of pantsing to plotting, I believe most writers do some form of sketching a little in each story. Usually I sketch after I get a good start on a story.
A Sudden Insight
I have been writing several unrelated magical-realism shorts over the years. I label these as fantastic folktales. They are subtle stories, with that unmistakable undercurrent of impossibility and fantastic flowing through them. They are explorations of my imagination and my craft, vents of my passion. They have different styles, different characters, different premises, nothing really connecting them.
One morning a couple of weeks ago, I woke with the idea of creating a map for one of these stories. And to this map I added the landscape of another story, then another. Suddenly, these stories all fit together. They even had a chronology to them. Further, the map and story element connections suggested several connector and origin shorts. And under them was that hidden undercurrent of overarching fantastic which suggested it own story.
It seems so obvious, with that map and the similarity of the genre of the stories, that the stories belong together, that beneath them was a larger, suggested, untold story.
Several of the stories are ready for publishing. Others need fleshing and tweaking. But this is a project I am excited to pursue. This is a book I want to write.
It would be just if my first book contained a selection of my short stories, which each took a short while to write, rather one of my long ones that I have worked on and played with for so long. And to discover this potential in an odd urge to create a single-short story map is thrilling.
My Take on Plots and Maps
Plots come in many forms. Some plots originate from intuitive exploration (pantsing). Some from first drafts. Some from outlines. Others from maps.
Every map is an outline to endless stories. Details and names infill a world with story. Horizons in space and history inspire a broader and deeper world and more story.
A Comparison of Outlining and Mapping
Outline maps out a story. Like a pathfinder of new lands and events, it explores the lands and events and chops a route through them. The path it picks clearly leads further travel through the lands and events. But it also restricts the possibilities of exploration. It winds from point A to point B, however complex the labyrinth of its trail. Further travel may head off the outline, but in doing so will clear its own route — its own outline — between A and B.
The outline is a good guide and even its winding and rolling trails and oxbow loops can be revised into a smooth road.
Map outlines a world. It does not blaze a trail from point A to point B, but instead suggests wilderness (forests, oceans, city blocks), encounters and adventure between and far beyond the two points. The map opens new places, new events and new context to explore — in fact, uncounted places and events, and burgeoning context. But more importantly it reveals endless new places, events and context to explore once the current story is complete. And a map can be grown. Its limits can be pushed deeper and farther beyond what the map revealed before. Horizons always have story beyond them. Unnamed places can always be named.
The map is an atlas of unending potential tales. It is not direct and smooth like an outline, but it reveals possibilities and twists the outline misses.
Used together, the map and the outline can guide the writer to and through grand stories. The outline unearths and shepherds a story. The map opens and reveals a world of stories. Just like Tolkien emphasized.
How do maps influence your stories and build your worlds? Join the conversation. Comment below.
- Writing Process: World Building
- The Magic of World Building
- #WeWriteBooks, Post 3: Storyworld
- The Ultimate Guide To World-Building: How To Write Fantasy, Sci-Fi And Real-Life Worlds
- World Building Cheat Sheet — Ultimate Fantasy Writer’s Guide
- World Building Primer
- World Building Tips and Tricks
- Building the World of Your Screenplay: Your First 10 Pages
- Adding Depth to a Fantasy World
- The 5 Keys to Seamless Worldbuilding
- World Building: The Little Details
- The Seven Worldbuilding Sins of Storytellers
- 7 Deadly Sins of Worldbuilding
- Jump-Start Your Imagination: Creative Writing Exercises for Worldbuilding
- Introducing One Stop For Writers’ NEW Worldbuilding Tool
- Worldbuilding: Creating Fictional Cultures
- World Building Series
- Worldbuilding 1: Magic Systems
- Worldbuilding 2: History
- Worldbuilding 3: Setting
- Worldbuilding 4: Cultures
- Worldbuilding 5: Technology
- Worldbuilding 6: Economy
- Draw a Map to Help Your Story
- Map Making 101
- Crafting Plausible Maps
- How to Draw a Fantasy Map, Part 1
- How to Draw a Fantasy Map, Part 2
Tolkien, J.R.R. (1945.) Letter 96. The Letters of J.R.R. Tolkien. First Edition, 1981. Carpenter, H. and Tolkien, C. London: George Allen & Unwin. P. 125. https://timedotcom.files.wordpress.com/2014/12/the_letters_of_j.rrtolkien.pdf.