In fantasy novels, world building often begins before the first word of the novel is written. Considerable effort goes into bringing these fictional places to life. That was true for The Strandlock. World building for The Strandlock was the most enjoyable part of the creative process.
A New World
The story unfolds in a world far different from our own. This unfamiliar place must feel complete, which involved creating an entirely new setting, populated with unknown communities, plants, animals, foods, and cultural norms. Over the years, I imagined names, creatures, customs, and bits of history to make the setting feel real.
Places
The Strandlock takes place in Spira. Twelve stars fill Spira’s night sky, forming distinct patterns. One community has names for the stars, while another has an origin story for them but no names. Their presence overhead is a recurring element in the story.
Several kingdoms exist in Spira, some only mentioned but not visited in The Strandlock. For instance, one character came from Klanya, a hilly land south of the plains. However, no one visits that area in this novel. In addition, some villages and towns exist with their own cultures. Many of these locations appeared on my initial draft map of Spira long before their scenes were even written.
Culture
Within Spira, distinct cultures exist in certain areas. The main character, Tima, lives on the grasslands of the plains. Her life is centered in a primitive camp where people live in hide-covered shelters called gharts. Elders are highly respected in their culture, and they gather around a fire for ceremonies like a Story Circle.
The shape shifters are called the Wrenlar, and they live in caves past the Blue Mountains. While the Wrenlar have magic, others who share their part of Spira have no magic. Due to the risks of shape shifting, specific rules govern their activities, and Wrenlar youngsters receive training to understand them.
Meanwhile, other people live in a fishing village along the coast, or the bustling Market Place. Taverns, a beast yard, and vendor booths fill the streets and alleys of the trading center.
Creatures
In a fantasy world, some animals mirror familiar creatures. For example, a horse is still a horse. Some creatures combine the traits of common animals.
For example, the arbull is a large, lumbering animal of the plains. It is heavily furred with multi-toed footpads and has been domesticated as a beast of burden. In my mind, I pictured it as a large highland cow with camel-like feet.
Smaller creatures exist, too. They add local color. The jackoo is a tiny plains bird with white wing feathers, and the holdard is a plump, feathered-leg bird with limited ability to fly, considered a popular meal choice in many villages.
Some fierce animals appear because every fantasy needs an extra element of danger. The fangs and claws of the kringer cat are deadly. The snowlugger with its leathery wings and large talons is feared.
Readers will encounter many more unusual creatures through the novel.
Food and Beverages
As with the animals, some food and beverage items are familiar. Yet, the fantasy world has unique meals, such as yobi, a thick, rich broth made from the thorny yobi plant found in the plains. Fruits include bushberries and oqwepods.
Soothing beverages include dewroot tea, while amsad is a fermented beverage with a kick.
Tasty treats range from sweetrolls to roasted luken nuts.
Details like this bring the world of Spira to life. To help readers navigate its fantasy vocabulary, The Strandlock includes a glossary.
Inventive World Building
All of these places, creatures, and cultures exist because of one thing: the strandlock. When it begins to fail, the entire world is threatened.
The next blog will take a closer look at the book’s back-cover blurb.
Previous: Drawing the World of The Strandlock
Next: Back-Cover Blurb: Capturing Interest for The Strandlock
