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Creating Unique Fantasy Worlds: Originality

So in the last post I discussed the major challenges of creating unique fantasy worlds and cultures.  The first challenge I identified was the tension between coming up with a new facet of world or culture while not breaking the logical coherency of your world.  Every aspect of your world-building exists on multiple axes.  The two axes that are relevant to this post are originality vs. familiarity and coherency vs. incoherency.  We’re going to need some definitions here:

  • Originality: I’m using this word in the sense of departing from your idea of the standard implementation of an aspect of physical laws or culture.  So the patriarchy is the example of a gender power structure that is most common in our world.  So you maybe want to use a different gender power structure.
  • Coherency: I’m using this word in the sense of the different parts of your culture fitting together logically.  Say you have a people who live on a river.  Their whole livelihood is bound up in the river and it’s natural cycles.  And they worship a god who lives at the top of a far-off mountain.  Can you make that work as an author?  Sure, with enough other factors, such as perhaps they lived on that mountain in the past.  But assuming only the information I’ve given you, wouldn’t a form of worship involving the river make more sense?  If you live in a matriarchal culture, is it more likely you’ll have a king or a queen as your ruler?  If your people live on the coast of the ocean, are they more likely to be known for their sailors or their mountaineers?  If they have huge deposits of iron are they more likely to be known for their ironwork or their copper-smithing?

Now, we’re assuming, given the subject of this blog series, that you want to err on the side of originality over familiarity.  You’re reading an article on world-building, so I’m going to assume you value coherency over incoherency.  (If you write surrealism, maybe not?)

 

One trick to originality is looking at the axes which we use to judge familiarity.  You might think the opposite of patriarchy is a matriarchy, but that only differs on the feature of gender.  It’s still following a complex set of assumptions about what power is and how we define who holds it.  We have in our world a common concept of a struggle for power between the male and female genders.  It’s a single axis alignment of power.  If you want to be really original, you might consider altering a different axis.  Or maybe two.  Or three.  Perhaps there’s an equal division of power between genders.  Maybe it doesn’t even match our pre-conceived gender roles.  Or maybe there’s no gender division at all.

Now, true origianlity would not just be, “okay, let’s have Japan but with a matriarchal power-structure and everything else is the same.”  That’s a valid method to create a fantasy setting, assuming you watch out for things like cultural appropriation.  But it’s not what we’re addressing in this post.

And there are other power structures or aspects of power structures.  Such as do we have a single absolute ruler?  A group of rulers?  A democracy (of sorts)?  How do we decide on who fills these positions?  More generally in world-building, you have to decide on your goals for the culture or world and then pick the method to achieve that goal.  So you can focus your originality on those aspects, which certainly makes life easier.  Perhaps you want everything to be original.  A lofty goal, though I’m not sure it’s a good one.

But you can have a fairly original culture by just changing a few aspects.  What provides the true originality instead of just being gimmicky is whether or not you let these changes trickle down through other aspects of the society.  You have to find the reasons that underlie your new surface structure.

Another important aspect to consider is whether your ground state culture is the average of real-world cultures or those depicted in secondary-world fantasy.  So a democracy is more common in the real world than in fantasy, so within the context of fantasy, it might feel a lot more original than you might otherwise expect.  Theocracies might be arguably more common in fantasy than in real life, so they might feel less original.

You could look at religion the same way.  Polytheistic pantheons are far more common in fantasy than in modern real life.  Monotheistic religions might feel very common in the real world, but are far less common in fantasy, despite being present.  And Judeo-Christian Gods make up most of the fantasy monotheistic Gods.  So even though mono-theism might not feel super original, the way it’s expressed in the world could be.  Pantheism/animism is similarly uncommon in fantasy, though we have real-world examples such as Shinto from Japan.

Worship of spirits and gods is the most common state of religion in both fantasy stories and the real world.  Rarely do we have supernatural forces acknowledged without worship.  Do you often see scientific explorations of the the river and wind spirits in fantasy the same way we look at meteorology in the real world?  When looking to create an original culture, one of the methods with the highest ceiling on originality is to find the underlying assumptions in our ideas of both what’s possible and what’s original.  We have a big conflict between theism and atheism in the real world religious landscape.  But especially from a Western viewpoint, it’s rarely considered that we might have supernatural phenomena acknowledged without being revered.  And there are many other examples.

 

I’ve used examples of religion and politics because they’re very common subjects of “unique” fantasy cultures and I know something about them.  You can do the same thing with food or cleanliness habits, art or clothing or architecture.  Family relationships, education, values either moral or practical.  How they deal with their economy.  With their debts or social obligations.  Politeness is a fun one.

Next time, I’d like to talk about how to make the aspects of your culture fit together in a way that readers will accept/expect.

 

 

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Creating Unique Fantasy Worlds: Challenges

It’s turned out that this is a series of rather long post rather than one or two medium posts, for wish I apologize.  I’m afraid I’m a bit of a discovery writer.  I had a very compact premise for these posts, but I found out as I went along that that premise entailed a large amount of background and set-up that couldn’t fit into a couple thousand words.  This post is going to be about the challenges of writing truly unique and original worlds.

  1. There’s nothing new under the sun.  Well, sort of.  The first thing to understand is that our only reference, our only source of inspiration for how the world and human cultures within it work is our world.  There’s only one.  That one contains thousands of years of recorded history among thousands of cultures.  But it’s still only one world, and all of those cultures follow one set of physical laws.  So even though in fantasy the possibilities are theoretically infinite, in practice, we suffer from a paucity of stimuli.  And even though we have an infinite number of possible combinations of physical laws, only a small subset of them result in coherent worlds and only a small subset of those are intelligible to us as humans.  So this challenge is a bit misleading.There are many things new under the sun, but our ability to understand them thoroughly or even conceive of their existence at all is actually quite limited.  And your challenge in creating a unique fantasy world is diverging far enough from real-world examples to feel new and exciting without diverging so far as to become incoherent to other humans–your readers.
  2. You have to convince the reader that your ideas fit together reasonably.  If you have a desert world where all the characters walk around in several layers of thick animal fur and you have a really cool social structure based around what caste of people wears what fur, that might be cool and original.  But it doesn’t make a lot of sense.  If you have a society set in the same basic geography as Scandinavia, it’s gonna be awful weird if they’re all eating rice and wearing Japanese-style clothing.  And this is because the environment affects how your society develops.  Tons of people in Illinois, USA eat salmon.  But there are no salmon here.  In a world without complex transportation networks stretching thousands of miles and supported by cheap refrigeration technology, that would be really odd.

    If you have quality steel armor and also katanas, then your world doesn’t make much sense, because katanas developed the way they did due to various factors including the lack of decent iron deposits, so that forging a decent blade required techniques that resulted in the shape of the katana, the sharp edge of which is forged from a different allow than the body of the sword, and so when it reacts to being heated, those two sections expand different, creating the trademark curve of the blade.  And beyond that, katanas only functioned because that same lack of quality metal meant the style of armor in use was vulnerable to the slashing attacks that are the main use of the katana, whereas steel plate is not generally vulnerable to slashes, but rather to chops, thrusts, and bludgeoning.

  3. In order to create a logical and coherent culture (or world), you need to know why things work.  But you don’t.  Most people will have no idea why Japanese culture developed katanas, or why the daimyos(lords) had so much power compared to the Emperor.  But they have the dual illusion of an incorrect idea of why those things existed and that they understand the why rather than maybe merely seeing the surface pattern of the what.  You don’t know the underlying reasons for gravity; you only know the surface effects.  Things fall rather than rising, falling causes damage.  But how does gravity create and affect the atmosphere?  How does gravity interact with other forces to create rain?  How does gravity create the tides?  You don’t necessarily need to know how the tides work to sail a ship.  You just need to know how they affect the ship.  The rules, not the reasons.  Because the world takes care of the reasons and how they create interactions between systems.

    The same goes for the systems that underlie human cultures.But when you are creating a a world or a culture for a story, there is no world to run the system for you.  You can’t input some facts about how you want the culture to work into a computer that knows how things work and let it hash out the results of your combination.  You have to be able to design and understand the way the systems interact yourself.  When you steal a culture from the real world, the reasons are irrelevant, because we all know the rules and we can extrapolate from our years of experience with those rules to create a logical model of how things work that we can use to both predict outcomes and judge how likely the outcomes the author presents are to really happen.  If their model doesn’t fit our model, we decide they screwed up or are outright cheating.

    But when you have an “original” culture, the surface patterns you expect the system to generate are much more likely to differ from the surface patterns your reader expects, and so they will judge your world-building or plotting skills negatively.  They will look at real world cultures that have similar rules and see the general consistency in the resulting surface patterns and extrapolate from that to the patterns your systems should theoretically create.  If your surface patterns don’t match that theoretical model, you’re going to have trouble with reader engagement.

So the two surface challenges for creating a new culture or world (or magic system or whatever) are making your world feel original and still feel coherent and reasonable.  And underlying those surface challenges are the mechanical challenges of not actually knowing how things in the real world work and so how they should work in your world based off your deviations, and how to derive new ideas from our shared experiences.  And in the next post, I’m going to start suggesting possible solutions to some of these challenges.

 

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Creating Unique Fantasy Worlds: Background

In my last post, as sort of a prelude to the complex topic I’d like to discuss here, I talked about ways to create fantasy cultures based on real cultures and the advantages and disadvantages of this method.  I’m going to start out this post by talking about such counterpart cultures again, but this time, I’m going to focus on the difficulties of creating a truly original culture and how the common use of counterpart cultures undermines such attempts.

 

So, counterpart and generalized Earth cultures make up a great deal of the fantasy landscape.  The exert an enormous influence.  On both the types of stories that are common, and on reader expectations.  I’m going to talk about reader expectations first.

Readers expect certain things when they pick up a book.  These are based on the cover, the blurb, the author.  But also on their past experiences with the genre.  If they’re used to parsing and relating to stories and characters in a pseudo-medieval European setting, they’re going to have difficulty relating to a character in a different setting, because setting informs character.  Also, writers and readers in the genre have developed a set of short-cuts for conveying various forms of information from the writer to the reader.  A reader is familiar with the tropes and conventions of the genre, and writers can and almost inevitably do manipulate this familiarity in order to both meet reader expectations and violate them without going into a wall of text explaining the violation.

Both the writer and the reader of high fantasy have an understanding of the concept of the knight.  Or at least the version in Europa, our faux medieval European setting in which so many fantasies take place.  So when a writer introduces a character as a knight, it’s shorthand for a great deal of information which the writer now does not have to explain with long info-dumps about the history of European chivalry and feudalism.  There’s a strong tension in fantasy between world–building and not info-dumping, because for the most part, info-dumps get in the way of the story.  You don’t want to drop craploads of information on the reader all at once because it interrupts the story.  But you need them to understand the background in order to put the story in context.  Why would a fighter give his opponent a chance to ready himself and get on an equal footing when the stakes of the battle are the conquering of the kingdom?  Because his culture holds honour as one of the highest moral values.  Would sneaking up behind him and stabbing him in the back be easier, have a higher chance of success, and not put the kingdom at risk?  Sure.  So would shooting him with an arrow from behind a tree.  Or two hundred arrows in an ambush as he walks through the forest.  But it would be dishonorable.  And then he might do the same to you.  The same reason why parley flags are honored when it might be so much simpler for one side or the other to just murder the guy.

People do all sorts of dumb shit because it’s “the right thing to do” or perhaps because due to complex cultural values or humans being shitheads, the short-term loss helps uphold a long-term gain.  The tension between the obvious solution in the moment and why it might be foolish in the larger context is a powerful way to drive conflict in the story.  But teaching the reader larger context is a heavy burden when they don’t have any real previous understanding of it.  By using Europa as our setting, we get all that context for free because the reader has previous experience.

The same goes for any sort of counterpart culture.  Rome or Japan have a large collection of tropes in say Western English-speaking society.  Readers will be familiar with those tropes.  So if you want a bit of a break from knights and princesses, why you can take a quick detour through samurai and ninjas.  Or legionnaires and barbarians.  Sometimes these are just trappings on top of the same style of story.  Sometimes these new settings and tropes introduce new things to the story that are really cool.  But because even then, audiences have less exposure to various renderings of these tropes or perhaps the real history underlying them, they can be even more stereotypical or empty than Europa fantasy.

And even in terms of world-building they can do the same.  The writer has to communicate less technical detail to the reader and they don’t have to world-build as deeply because they have less need to justify their setting.  When you just know that knights and princesses and stone castles are real, even if you don’t know how they work exactly, you don’t worry so much about the details.  When something is clearly made up and not based on real Earth history, the questions about how things work and would they really work that way given the frame the author has built can become more of a suspension of disbelief killer.  There’s a joke that some things are just too strange for fiction.  Sure they happened in real life and we have proof.  But in stories, most people most often expect a sort of logical cause and effect and that if a thing happens, it has a good reason based in the story or world-building.  If something could happen once in a thousand tries based on sheer luck and it happening in your story is an important plot element, readers are much less likely to suspend disbelief than if it happens 754 times out of 1000 in the real world.  So your world-building needs to make some sort of logical sense to the reader if you want your plot to hinge on it.  And when you have the weight of genre history behind you, readers are far more likely to give you the benefit of the doubt than if you’re the first person doing it ever.

And that’s why fantasy counterpart cultures are so popular.  We know from Earth history, our only referent of a real history that actually occurred, that the things thus depicted (sorta, kinda, if you squint a bit) really did occur and function in a world rigidly bound by physical laws.  Unlike a world bound only by words on a page written by one dude who probably doesn’t even remember the six credits of world history he took in high school.

And as a very meta example of my point, I have now written two long posts full of info-dumping that I’m demanding you read before I even start talking about what I promised to talk about: how to overcome all these hurdles and actually create unique and original worlds and cultures for your fantasy story.

 

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Should Authors Respond to Reviews of Their Books

Quite randomly, I stumbled onto a web of posts and tweets detailing an incident of an author commenting on a review of one of their books, being taken to task for it, and then spending what I see as way too much time further entangling themselves in the resulting kerfluffle.  I won’t name this author, because I’m not posting clickbait.  I read both sides of the argument, and while I sided mostly with the reviewer whose space was invaded, I do think some of the nuance on both sides that was over-shadowed by this author’s bad behavior offers valuable insight into both review and more general netiquette.

First, I want to establish some premises:

  1. Posting to the internet is a public act.  That’s true if your post is public rather than on a private blog or Twitter account, say.  But it ignores the complexities of human social interaction.  If I’m having a chat with my friends at IHOP (Insert your franchise pseudo-diner of choice), we’re in public.  So it’s a public act.  But not quite!  If some random patron three tables down were to start commenting on our nastily engaging discussion of who should fuck who in the latest, greatest reverse harem anime, we would probably consider that quite rude.  In fact, we have lots of terms for that sort of thing: butting in, nosy, etc.  I think a valid analogy could be made for the internet.  Sure my Tweet stream is public, but as a nobody with no claim to fame or blue checkmark, it’d be quite a shock for the POTUS to retweet some comment of mine about the economy or the failings of the folks in Washington.  The line can be a bit blurrier if I run a popular but niche politics blog, or if I have a regional news show on the local Fox affiliate.  But just because you can read what I wrote doesn’t mean I expect, much less desire, a response from you.
  2. My blog/website is my (semi-)private space.  Yours is yours.  I own the platform, I decide the rules.  You can write whatever you want on your blog.  Your right to write whatever you want on mine is much less clear-cut.
  3. You have institutional authority over your own work.  While most authors may not feel like they have much power in the publishing world, as the “creator”, they have enormous implied power in the world of fandom and discussion of their own specific work, or maybe even someone else’s, if they’re well-known friends of Author X, say.  If I criticize the War in Vietnam or Iraq, and a four-star general comes knocking on my door the next day, you better fucking believe I’m gonna be uncomfortable.  An author may not have a battalion of tanks at their disposal, but they sure as hell have presence, possibly very intimidating presence if they are well-known in the industry or for throwing their weight around in fandom.

Given these basic premises which I hope I have elaborated on specifically enough, I have some conclusions about what I would consider good standard netiquette.  I won’t say “proper” because I have no authority in this area, nor does anyone, really, to back up such a wording.  But a “reasonable standard of” at least I can make logical arguments for.

  1. Say what you want on your own platform.  And you can even respond to what other people have said, especially if you are not an asshole and don’t name names of people who are not egregious offenders of social norms or who haven’t made ad hominem attacks.
  2. Respect people’s bubbles.  We have a concept of how close to stand to someone we’re in a discussion with in real life, for example, that can be a good metaphor for on what platforms we choose to respond.  Especially as regards critique, since responding to negative comments about oneself is something we know from past experience can be fraught with dangerous possibilities.  I would posit that a person’s private blog is reasonably considered part of their personal space.  A column on a widely-read news site might be considered more public,but then  you have to weigh the consideration of news of your bad behavior being far more public and spreading much faster.You should not enter it without a reasonable expectation of a good reception.  If there is a power imbalance between you and the individual whose space you wish to enter, we have rules for that.  real-world analogies.  For example, before you enter someone’s house you knock or ring the doorbell.  A nice email to the specified public contact email address asking if they would mind if you weighed in is a fairly innocuous way to open communications, and can save face on both sides by avoiding exposing one or the other to the possible embarrassment of being refused or the stress of refusing a local celebrity with no clear bad intentions.
  3. Assume permission is required unless otherwise explicitly  stated.  This one gets its own bullet point, because I think it’s the easiest way to avoid the most trouble.  A public pool you might enter without announcing your presence.  Would you walk into a stranger’s house without knocking? One would hope not.
  4. Question your reasons for engaging.  Nobody likes to be  called sexist.  Or racist.  Or shitty at doing their research.  Or bad at writing.  But reactionary  defenses against what could be construed as such an assertion do not in my mind justify an author wading into a fan discussion.  Or a reader discussion, if one considers “fan” as having too much baggage.  An incorrect narrative fact is likely  to be swiftly corrected by other readers or fans.  Libel or slander is probably best dealt with legally.  A reviewer is not your editor.  You should probably not be quizzing them for advice on how to improve your writing, or story-telling, or world-building.  Thanking a reviewer for a nice review might be best undertaken as a link on your own blog.  They’ll see the pingback, and can choose to engage or not.  At best, one might pop in to provide a link to their own blog where they provide answers  to questions raised in the post in question or a general discussion of the book they may wish to share with those who read the review.  But again, such a link would probably be best following a question on whether any engagement by the author might be appreciated.

Overall, I think I’ve suggested a good protocol for an author tojoin in fan or reader discussions without causing consternation or full on flame wars, and at a cost barely more than a couple minutes to shoot an email.

 
 

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Machine “Translation” and What Words Mean in Context

One of the biggest commonly known flaws of mahcine translation is a computer’s inability to understand differing meaning in context.  After all, a machine doesn’t know what a “horse” is.  It knows that “caballo” has (roughly) the same meaning in Spanish as “horse” does in English.  But it doesn’t know what that meaning is.

And it certainly doesn’t know what it means when we say that someone has a “horse-face”(/”face like a horse”).

 

But humans can misunderstand meaning in context, too.  For example, if you don’t know how “machine translation” works, you’d think that machines could actually translate or produce translations.  You would be wrong.  What a human does to produce a translation is not the same as what a machine does to produce a “translation”.  That’s why machine and human translators make different mistakes when trying to render the original meaning in the new language.

 

A human brain converts words from the source language into meaning and the meaning back into words in the target language.  A computer converts words from the source language directly to words in the target language, creating a so-called “literal” translation.  A computer would suck at translating a novel, because the figures of speech that make prose (or poetry) what they are are incomprehensible to a machine.  Machine translation programs lack the deeply associated(inter-connected) knowledge base that humans use when producing and interpreting language.

 

A more realistic machine translation(MT) program would require an information web with connections between concepts, rather than words, such that the concept of horse would be related to the concepts of leg, mane, tail, rider, etc, without any intervening linguistic connection.

Imagine a net of concepts represented as data objects.  These are connected to each other in an enormously complex web.  Then, separately, you have a net of linguistic objects, such as words and grammatical patterns, which are overlaid on the concept net, and interconnected.  The objects representing the words for “horse” and “mane” would not have a connection, but the objects representing the concept of meaning underlying these words would have, perhaps, a “has-a” connection, also represented by a connection or “association” object.

In order to translate between languages like a human would, you need your program to have an approximation of human understanding.  A famous study suggested that in the brain of a human who knows about Lindsay Lohan, there’s an actual “Lindsay” neuron, which lights up whenever you think about Lindsay Lohan.  It’s probably lighting up right now as you read this post.  Similarly, in our theoretical machine translation program information “database”, you have a “horse” “neuron” represented by our concept object concept that I described above.  It’s separate from our linguistic object neuron which contains the idea of the word group “Lindsay Lohan”, though probably connected.

Whenever you dig the concept of horse or Lindsay Lohan from your long-term memory, your brain sort of primes the concept by loading it and related concepts into short-term memory, so your “rehab” neuron probably fires pretty soon after your Lindsay neuron.  Similarly, our translation program doesn’t keep it’s whole data-set in RAM constatnly, but loads it from whatever our storage medium is, based on what’s connected to our currently loaded portion of the web.

Current MT programs don’t translate like humans do.  No matter what tricks or algorithms they use, it’s all based on manipulating sequences of letters and basically doing math based on a set of equivalences such as “caballo” = “horse”.  Whether they do statistical analysis on corpuses of previously-translated phrases and sentences like Google Translate to find the most likely translation, or a straight0forward dictionary look-up one word at a time, they don’t understand what the text they are matching means in either language, and that’s why current approaches will never be able to compare to a reasonably competent human translator.

It’s also why current “artificial intelligence” programs will never achieve true human-like general intelligence.  So, even your best current chatbot has to use tricks like pretending to be a Ukranian teenager with bad English skills on AIM to pass the so-called Turing test.  A side-walk artist might draw a picture perfect crevasse that seems to plunge deep into the Earth below your feet.  But no matter how real it looks, your elevation isn’t going to change.  A bird can;t nest in a picture of tree, no matter how realistically depicted.

Calling what Google Translate does, or any machine “translation” program does translation has to be viewed in context, or else it’s quite misleading.  Language functions properly only in the proper context, and that’s something statistical approaches to machine translation will never be able to imitate, no matter how many billions of they spend on hardware or algorithm development.  Could you eventually get them to where they can probably usually mostly communicate the gist of a short newspaper article?  Sure.  Will you be able to engage live in witty reparte with your mutually-language exclusive acquaintance over Skype?  Probably not.  Not with the kind of system we have now.

Those crude, our theoretical program with knowledge web described above might take us a step closer, but even if we could perfect and polish it, we’re still a long way from truly useful translation or AI software.  After all, we don;t even understand how we do these things ourselves.  How could we create an artificial version when the natural one still eludes our grasp?

 

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Magic’s Pawn

One of my favorite styles of magic, though not often see is not a clever way for the protagonist to control the forces of magic, but a system where the forces of magic control the protagonist.  I suppose an ancient prophecy ca work kind of like this or a higher being giving direction, but I’m talking a more concrete and local form of control, yet exercised by a more abstract force.

The forces of magic involved don’t necessarily have to be sentient or intelligent in the way a human is or, even an animal although they could be.  Honestly, I think not being so makes the situation all the more interesting.

Think of the way a bee is involved in an ecosystem: generally as a pollinator.  Now imagine that a human (probably a mage or this world’s equivalent, but not necessarily) has been incorporated into the magical ecosystem of the world in the same way.  Some force of magic has evolved to encourage certain behaviors in human mages that are beneficial to the magic of the world that force of magic is part of.

Perhaps there is a cycle sort of like the water cycle that benefits from humanity in chaos, and so the magic has evolved ways to create that chaos through empowering some mage or person.  The specific actions of the person are irrelevant to the magic, as long as they cause a great upheaval.  The system may not even care if humans would describe this pawn of magic as “evil” or “good”.

Humanoid characters are almost always portrayed as exerting control over the magic of their world, but they are rarely shown to have been integrated into the system–as we are integrated into nature, even despite our control of it–despite what is portrayed in the world’s history as thousands or even millions of years of coexistence.

Where are the magical world equivalents of modern climate change?  There are apocalypses sort of like nuclear bomb analogs.  Mercedes Lackey’s Winds series, for example, with it’s effects on the world of the end of the war depicted in her Gryphon’s series.  But rarely if ever are there subtle build-ups of all the interference caused by humans harnessing magical forces.  Not even on the local level like the magical equivalent of the flooding and ecological damage caused by damning rivers, or the water shortages caused by different political entities failing to cooperate on usage rights of the local river.

I would love to read (or write!) some fantasy exploring a closer relationship between man and magic than simply human master and magical servant/slave.

 

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Reading Outside Your Genre: Blogs

One of the most common pieces of advice that I hear from writers is to read outside of your genre.  In fact, some writers go so far as not reading anything inside their genre while they are writing.  Which I think is taking things a bit far, but…  The point is, it’s very good advice.

Why?  Here’s another piece of advice I hear all the time:  “Even if your story is has almost exactly the same topic/characters/theme/plot as someone else’s, it will still be different.  Put your own spin on it.”  Again, a fantastic piece of advice.  But how do you do it?  One way to get ideas is by following our first piece of advice.  Every genre has its own tropes and conventions, things that are common amongst the majority of stories in that genre.  But some of the best work in any genre involves tropes and conventions that aren’t normally a part of it.  And you won’t know what those are if you only read inside your own genre.

Blogging is a lot like writing.  There are tons of blogs out there, about almost every topic you can think of.  So how do you make your own blog stand out?  Here’s My 5 Step Plan to Writing a Rocking Blog:

1.  Identify the goals of your blog.  Who is your target audience?  What are you trying to tell them?  What methods will you use?  What style will you write in?  What is your blog’s genre?

2.  Look at other blogs in the same genre.  How do they approach their readers?  What tips and tricks do they use?  What formatting do they employ?  What are the most common templates for blog posts?  How-tos?  In-depth analysis?  Anecdotes?  What style do they adopt?

3.  Decide how to satsify your target readers.  How can you use what you’ve learned reading other blogs to create a blog that people will want to read?  What have those other blogs done right?  What have they done wrong?  Which of their techniques can you make work for you?

4.  Now read blogs that aren’t in your genre.  What kinds of things don’t your genre’s blogs talk about?  What else do you find interesting besides the standard fare of your genre?  What blogs grabbed your attention?  What techniques did those other bloggers use that made you want to keep reading?  How could these bloggers maintain your interest in topics you had never been interested in before?

5.  Apply what you’ve learned.  What do you see on blogs in other genres that could be adapted to your own blog?  What things in those other blogs could apply to blogs in general?  What topics did you come across that were relevant to your own genre, but rarely addressed?  What did you find that could make your blog stand out?  What will be your twist?

Of course, digging through hundreds and thousands of off-topic blogs is tough.  There has to be a way to narrow down your search.

And you can find it right here on the Chimney.  As a special service just for my readers, I’m going to point you to some of the out-genre blogs that I use to keep my perspective wide.

Tune in every Saturday, when I will write a post featuring a blog outside of my own genre, and why I read it.  I will explore what makes it such a fantastic blog in its own right, and why it is relevant to those of you who may be reading my blog, even if you don’t share a genre with me.

Keep in mind that I am first a spec fic writer and reader, then a fiction reader.  I will be looking at blogs that mostly apply first and foremost to writers, because that’s what I am, and its also my target audience.

So the chances that I will be high-lighting sports blogs; or that if you run a site on how to buy and use a gas grill the blogs I feature will give added value to your site are slim.

But they could!  The whole point of me writing this post was that you never know what could attract readers.

Hopefully, this feature series will kick off Saturday, July 23.  I’ll be plugging it wherever I reasonably can.  Please feel free to mention it to your friends, fellow bloggers, and also your readers.  If you have a blog you think should be featured, or if you like to submit your own blog, don’t hesitate to e-mail me.  You’ll find my contact details on my Contact Me page, in the menu at the top of the page.

I’m also going to put this out on my Twitter, so feel free to Re-Tweet (and follow me if you aren’t already) if the mood strikes you.  There are tons of awesome blogs out there that you should be reading, and I’m going to do my best to introduce as many of them to you as I can.

Because I’m curious about how well people police their identities on the internet, I’m going to wait until six hours before the each post go online to notify the bloggers in question.

(Pro Tip:  Setting up Google Alerts and other services to keep track of how your name is mentioned on the internet is not egotistical.  It is good social net-working practice and it can not only improve your relationship with others by making you aware of their interest in you, it can help nip problems in the bud.)

Now, she doesn’t know it yet, but I’ve already selected Romantic Comedy author Tawna Fenske at Don’t pet me, I’m writing to be the first featured blog.  It was in fact one of her posts that inspired this series, because she is just that awesome.  Don’t wait for the post, go follow her immediately!  And feel free to tell her who sent you. 😉

 
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Posted by on July 17, 2011 in Authors, Blogging, How To

 

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