Episode 134: Print The Legend: Weaving Myth and History into One, ft. NALO HOPKINSON

A villain may not have excuses for their behavior -- but they probably have reasons. How can worldbuilding feed those reasons? Antagonists are often those characters who are both the most willing and the most able to seize control of power structures and take advantage of their privileges. So what pressures in your world have created those structures, and how does your Big Bad maniuplate them? Guest Chloe Gong joins us to explore how to build a world that fits your villain and a villain that fits your world. We also poke around the idea of villainy itself. Is it always the same thing as antagonist? How do you worldbuild differently for a story with an unambiguous, moustache-twirling capital-v Villain versus a story with far more shades of gray? Perspective plays a large role in communicating this to a reader. After all, the villains are the heroes of their own stories, and sometimes we love characters who are very clearly committing crimes! How do we as writers negotiate all of this in balance with genre expectations, reader moralizing, and the veracity of the worlds we're creating? This one's for all of you out there whose comfort characters may or may not have* committed war crimes. *definitely have [Transcript for Episode 137] Our Guest: Chloe Gong is the #1 New York Times bestselling author of the critically acclaimed Secret Shanghai novels, as well as the Flesh and False Gods trilogy. Her books have been published in over twenty countries and have been featured in the New York Times, PEOPLE, Cosmopolitan, and more. She was named one of Forbes’ 30 Under 30 for 2024. Chloe graduated from the University of Pennsylvania with a degree in English and International Relations.  Born in Shanghai and raised in Auckland, New Zealand, she is now located in New York City, pretending to be a real adult. Visit her online at thechloegong.com and on Instagram, X, and TikTok at @thechloegong. She is represented by the wonderful Laura Crockett at TriadaUS Literary Agency.

We were all in the same room! And that room was in Scotland! In this episode, your WFM co-hosts were able to record a special episode at WorldCon. We chat about ourselves, our works, the Traveling Light anthology, and our favorite components of a world to build. And then, we take some audience questions! (We apologize that some of them are a little hard to hear; they had a mic, but it seems it was not always picking up super-well) We discuss political worldbuilding, neurospiciness in characters (and their authors!), questions we ask ourselves while worldbuilding, building different cultures within a world, worldbuilding in prewriting & editing, and more. [Transcript TK]

What can translation and transmission of ideas and stories over time teach us about a society -- and about storytelling? Guest Ken Liu joins us to talk about the intertwining of philosophy, imagination, and translation. As writers, we can never fully translate the story that plays out in our heads onto the page, because every reader will imagine something a little different. How do we embrace that and celebrate it as a lovely part of the human condition? This plays into how we construct our fictional worlds as well. The stories a culture tells about itself and its past are also always acts of translation, taking "what really happened" and putting a spin on it. Why do the people in your invented societies frame stories in the way that they do? How can thinking about the relationship between words, power, leadership, and culture help us build more creativey and inventively?   [Transcript TK] Our Guest: Ken Liu (http://kenliu.name) is an American author of speculative fiction. A winner of the Nebula, Hugo, and World Fantasy awards for his fiction, he has also won top genre honors abroad in Japan, Spain, and France. Liu’s most characteristic work is the four-volume epic fantasy series, The Dandelion Dynasty, in which engineers, not wizards, are the heroes of a silkpunk world on the verge of modernity. His debut collection of short fiction, The Paper Menagerie and Other Stories, has been published in more than a dozen languages. A second collection, The Hidden Girl and Other Stories, followed. He also penned the Star Wars novel, The Legends of Luke Skywalker. He’s often involved in media adaptations of his work. Recent projects include “The Message,” under development by 21 Laps and FilmNation Entertainment; “Good Hunting,” adapted as an episode in season one of Netflix’s breakout adult animated series Love, Death + Robots; and AMC’s Pantheon, with Craig Silverstein as executive producer, adapted from an interconnected series of Liu’s short stories.  Prior to becoming a full-time writer, Liu worked as a software engineer, corporate lawyer, and litigation consultant. He frequently speaks at conferences and universities on a variety of topics, including futurism, machine-augmented creativity, history of technology, bookmaking, and the mathematics of origami. In addition to his original fiction, Liu also occasionally publishes literary translations. His most recent work of translation is a new rendition of Laozi’s Dao De Jing. Liu lives with his family near Boston, Massachusetts.

Where does mythology come from? How does it tie us together? What does one world's mythology tell us about its people, how they view themselves, and their interactions with the divine? We speak to Nalo Hopkinson about myths, mythologies, folklore, and the stories that we tell each other as well as the stories we invent. [Transcript TK] Our Guest: Nalo Hopkinson is the award-winning author of numerous novels and short stories for adults. Nalo grew up in Jamaica, Trinidad, and Guyana before moving to Canada when she was sixteen. Visit her at NaloHopkinson.com.

A perennial question that our listeners often have is: How do you organize your worldbuilding? Do you have templates to use? Charts to fill out? Once you start imagining all your fantastic choices, how do you keep track of them all and then weave them along with your plot? Well, the answer to all of this, as with so many writing questions, is "do what works for you" -- but how do you even figure out what that is, or if it's the same from one project to the next? In this episode, guest M.J. Kuhn joins us to share tips, tricks, and tidbits from her new worldbuilding workbook! Whether you start world-first, character-first, plot-first, or some hybrid, it can be useful to put some structures around how you develop your worldbuilding ideas. Those structures might be particularly useful when you get stuck or lost within your project! They might help you find the world-related obstacles you want to put in your characters' paths, the trees you want to chase them up, the rocks you want to throw at them. Careful attention to how you worldbuild can also help you revise your ideas over time, from project to project. Many tools can be adapted to your individual writing style and habits! We also want to remind you that, at the time this episode goes up, you still have two days to submit your ballot for the Hugo Awards! And we would love your consideration for Best Fancast. [Transcript TK] Our Guest: M.J. Kuhn is a fantasy writer by night and a mild-mannered marketing employee by day. She lives in the metro Detroit area with her husband Ryan, a dog named Wrex, and the very spoiled cat Thorin Oakenshield. 

A lot of the time, fantasy worldbuilding invokes huge maps, spanning civilizations and continents, with characters traversing vast distances on their epic quests. But what about the worldbuilding that happens with a tighter focus on an intimate, even insular location? Guest Cherie Priest joins us to discuss creating small towns just ripe for gothic mysteries, peculiar traditions, and weird, haunting circumstances. What does isolation -- either naturally developing, imposed by larger-scale conditions, or willfully chosen -- do to a group of people? What sorts of lore and habits will spring up in such areas? And how do you, as a worldbuilder, think about their infrastructure -- or the lack thereof -- and how that might affect your characters and your plot? [Transcript TK] Our Guest: Cherie Priest is the author of two dozen books and novellas, most recently the Booking Agents mysteries Grave Reservations and Flight Risk. She also wrote gothic horror project The Toll and haunted house thriller The Family Plot – as well as the hit YA graphic novel mash-ups I Am Princess X and its follow up, The Agony House. But she is perhaps best known for the steampunk pulp adventures of the Clockwork Century, beginning with Boneshaker. She has been nominated for the Hugo Award and the Nebula Award, and the Locus award – which she won with Boneshaker. Cherie has also written a number of urban fantasy titles, and composed pieces (large and small) for George R. R. Martin’s shared world universe, the Wild Cards. Her short stories and nonfiction articles have appeared in such fine publications as Weird Tales, Publishers Weekly, and numerous anthologies – and her books have been translated into nine languages in eleven countries. Although she was born in Florida on the day Jimmy Hoffa disappeared, for the last twenty years Cherie has largely divided her time between Chattanooga, TN, and Seattle, WA – where she presently lives with her husband and a menagerie of exceedingly photogenic pets.

It's the start of our sixth season! And we've got some projects going on. The Traveling Light anthology, which we Kickstarted -- with the help of many of you listeners! -- at the start of the fifth season, is now almost complete! We've finished the page proofs and are about to turn this into a Real Book. In this episode, you'll get to hear from the anthology authors about their amazing, exciting, super-creative contributions! And if you missed the Kickstarter, fear not! It will be available for purchase in both physical and ebook form, and you'll be able to pre-order that soon. So what are we launching this year? A Patreon! That's right, we are finally creating a way for our magnificent, lovely listeners to support the podcast. We're hoping this will just help us cover some basic costs of podcast hosting, graphic design, maybe even putting together a Real Website! And in exchange, patrons will get some exclusive content and merch. We've got four tiers: Beetles, Crustaceans, Megafauna, and Kaiju. If you'd like to help us keep doing what we're doing (and maybe even zhuzh it up a bit more), check them out! And of course, this podcast is its own ongoing massive project! We are so, so grateful to all of our amazing guests who have joined us to talk about so many different aspects of worldbuilding. We're thrilled to be able to have these conversations about craft and imagination, and we're delighted that so many listeners enjoy it, too.  And hey! If you want to see us, we're gonna be some places! Hopefully the full team will be in Glasgow for WorldCon, August 8-12, and some of us will be in Austin for ArmadilloCon, September 6-8. (And if you'd like to help make sure Marshall gets to WorldCon, he's running a GoFundMe!) Voting is also still ongoing for the Hugo Awards, and we would love your consideration for Best Fancast! Because winning in Scotland would be really fun. Thanks for all your support! Here's to another great season!

Massive worlds require massive worldbuilding -- or do they? Sometimes, a narrower, character-centric scope can create a tight and compelling narrative while still crafting an expansive world. Guest Rebecca Roanhorse joins us to discuss how knowing your characters can help you konw your world. What does it mean to let character lead worldbuilding? How does that define your scope and how much worldbuilding you show the reader? How does this change wth a single versus a multi- POV story? When you let character lead, how do you avoid a world that feels like it was constructed solely to be an obstacle course for that one character to move through? We discuss technique for all this and more! Sidebar: It's still Hugo voting season! You've got until Saturday, 20th July 2024, 20:17 GMT to vote -- and you can vote as long as you become a Glasgow 2024 member by then. We are again on the ballot for Best Fancast, and we would love your consideration! [Transcript TK] Our Guest: Rebecca Roanhorse is a New York Times bestselling and Nebula, Hugo, and Locus Award-winning speculative fiction writer. She has published multiple award-winning short stories and novels, including two novels in The Sixth World Series, Star Wars: Resistance Reborn, Race to the Sun for the Rick Riordan imprint, and the epic fantasy trilogy Between Earth and Sky. She has also written for Marvel Comics and games (Echo, She-Hulk, Werewolf By Night, MoonKnight, and Chee’ilth) and for television, including FX’s A Murder at the End of the World, and the Marvel series Echo for Disney+. She has had her own work optioned by Amazon Studios, Netflix, and AMC Studios.  Find her Fiction & Non-Fiction HERE. She lives in Northern New Mexico with her husband, daughter, and pup. She drinks a lot of black coffee. Find more at https://rebeccaroanhorse.com/ and on Instagram at @RebeccaRoanhorse.

"Traditional" fantasy novels often hold themselves to a pre-gunpowder/pre-steampower level of tech. So, what’s fun about setting a fantasy world in an era that has anything from the printing press to cell phones? Guest Hana Lee joins us to explore incorporating the technological into the magical world! How can the harnessing of magic be similar to or dissimilar from channeling other kinds of power, like electricity? What story-driving tensions and conflicts can arise from eras of rapid change? And what sort of unholy terror might you create if you introduce magitech-bros into a world? As a sidebar: It's Hugo voting season! And the voting packet is absolutely stuffed with amazing reading, listening, and viewing material. All ballots must be received by Saturday, 20th July 2024, 20:17 GMT -- and you can vote as long as you become a Glasgow 2024 member by then! We are again on the ballot for Best Fancast, and we would love your consideration! [Transcript TK] Our Guest: Hana Lee is a biracial Korean American fantasy author. By day, she makes her living as a software engineer. She's always loved the dark, the gothic, and the occult, so there's usually a picturesque ruin of some kind lurking in the background of her novels.  Her childhood was spent trekking across the United States, from Southern California to the Midwest and back to the West Coast again. She generally considers her hometown to be Portland, OR, mostly because it's home to her favorite bookstore (Powell's Books).  She graduated from Stanford University with her B.S. and M.S. in Computer Science in 2018. Her family includes a partner and two ridiculously fluffy cats. They live in sunny Mountain View, CA, a stone's throw from Google HQ.  Hana's debut novel, ROAD TO RUIN, will be published by Saga Press in spring 2024. 

Making fantasy worlds into living, growing worlds means giving them a history of change and growth and shifts in technology and culture, not to mention governments and borders.  We talk about building history, historical ages and generational shifts, as well as diving into what are the historical ages in the world of the MNG, and how has it grown? Also! It is Hugo Award voting time! And we would love your consideration for Best Fancast. [Transcript TK]