Live on YouTube! Build Better Worlds Chapter Reading and Q&A with Kyra Wellstrom and Michael Kilman

Good morning everyone,
Today, Kyra Wellstrom and I go live to read a sample chapter from our worldbuilding book and answer worldbuilding questions on YouTube at 11am MST. You can find the stream at https://youtu.be/QS3Yse-rv3g

The discussion will be recorded so if you miss it don’t fret! You will be able to find it at the same link. But if you can come live, we’d love to field your questions about worldbuilding and anthropology.

See you soon!

Build Better Worlds: An Introduction to Anthropology for Game Designers, Fiction Writers, and Filmmakers, Is Now Live on Amazon!

I am so incredibly happy to announce that as of this morning, our new book, Build Better Worlds: An Introduction to Anthropology for Game Designers, Fiction Writers and Filmmakers is now available for purchase on Amazon. Next week the first paperback copies will also come available.

This book is a product of a solid year of work with my amazing co-author Kyra Wellstrom. While my specialty is cultural anthropology, hers is biological anthropology giving the book a well rounded approach from both directions of the field. In many ways this book is an introduction to anthropology that you might take in a college course, but with a twist, it contains tips and ideas for building fictional world and lots of references to other pieces of fiction. We created this book to be a tool kit for creatives so that they can seriously consider real world cultural systems as they construct the world of their imagination.

In many ways this book was inspired by my several posts on Worldbuilding. This book is a much more expansive treatise on elements of real world and cultures. I hope those of you out there looking for a deep dive into cultures to improve your own work find this volume useful. Best of luck on all your projects!

Buy Build Better Worlds Here!!!

Further Myths of the Mammoth Man (Custom Made Story)

This past Christmas in a gift exchange I wrote my brother a joke story. Recently he recommended I post it. Why? Because he suggested that maybe some people out there might want a custom made story of their own. I specialize in outrageous humor. It doesn’t have to rhyme of course but this one did. It can be a wide variety of genres.

Rates are as follows:
$100 for 250 words
$150 for 500 words
$250 for 1000 words
$500 for 2000 words.

If you are interested you reach me by email me at LoridiansLaboratory@gmail.com

So if you are interested in hiring me to write a custom made story for your friends or loved ones, consider the sample below.

Additional samples of some of my short work include Man in the Mirror and Simulacra

Further Myths of the Mammoth Man

Many years ago I told a tale so tall

That those who heard it felt a little small

It was a tale of a man of a mammoth proportions

So tall was this tale that some accused me of distortions

The Mammoth Man tale’s tale might be tall but it is true

So I decided to return to his native land and resume the story for you

When I returned to Colorado from afar

I found that the Mammoth had done quite well for himself and even had a nice car

No more lemon vehicles that break down on sight

And the mighty mammoth man became a mascot of sorts in sports on many nights

His mighty arms would guide a great screen in stadiums like magic

And from what I understand his paycheck isn’t what you call tragic

In his domestic sphere, had had done pretty well

He had caught the eye of a kindhearted southern bell

They live in a large house in Aurora where they and their daughter Cimi happily dwell

And the southern bell doesn’t even seem to mind how much his feet smell

Or perhaps when they do she makes him sleep in a hotel

All seemed well but, Did he live happily ever after you say?

Well, it wouldn’t be much of a story if that’s all I had to share today

You see the Mammoth shared a story that’s unbelievable but true

It involved a ham sandwich, some aliens, and a giant emu

What came next was fantastic and strange

It began late one night on a highway interchange

Driving in his mammoth car listening to rock and roll 

He slowed down on the road to pay a toll

Suddenly above the sky filled with a bright light

And the Mammoth man sighed knowing it would be a long night

When the aliens descended they brought a large machine

Because they needed something more powerful than the normal abduction beam

They couldn’t lift the mammoth man because his shoes alone were size nineteen

As the mammoth man ascended side by side with the alien crew

He realized that this wasn’t the strangest thing he was forced to do

After all there was that time in Tahiti with swarm of cuckoos

And of course the time with the priest who practiced voodoo

He wondered for a moment how he always got in this situations

But then the aliens asked him if he would be willing to represent all earth nations

At a galactic council where humans were on trial

To try an determine if earthlings could transcend their greed and guile

Of course Mammoth man knew they were probably wondering if invasion was worth while.

So as he entered the ship he just nodded and smiled

He just hoped they wouldn’t destroy his sweater made from argyle

It wasn’t a council chamber they brought him into

Instead it was a large enclosure that looked like a zoo

Many creatures were in cages including an emo and a kangaroo

The mammoth man asked, just what do you plan to do

The aliens looked at their feet and admitted their real plan

They told of their obsession with YouTube and how they had discovered the tale of the mammoth man

In fact, the aliens revealed that they were really big fans

And wanted him to stay for the rest of his lifespan

But the mammoth man thought of his southern bell at home

And about how small the ship was and how little room there was to roam

He politely declined but the aliens sprayed him with a strange foam

It hardened and solidified and trapped him in a dome

But the aliens underestimated mammoth man’s strength

And that they would be able to hold him for any length

He smashed out of his prison in minutes and broke free

But he could find no obvious way off the ship to flee

He looked around for a helpful ally from the zoo

And his eyes settled on the cage with giant Emu

He smashed open it’s cage hopped on it’s back and together they broke through to

The door to the bridge of the ship and threatened a coup

The aliens resisted and fought a hard battle

But as it turns out he had  something that would really give them a rattle

In his pocket was a ham sandwich and when it fell out

It caused all the aliens to fall to their knees and beg to end the bout

For it seemed the aliens were allergic to ham

Apparently in the wider galaxy everyone preferred fresh lamb

He threatened the creatures that he would slam and cram the ham

Into their mouths like a battering ram

The aliens with faces sad acknowledge their defeat

And the mammoth man threatened them to never again lie or cheat

Or he would return with a treat they were allergic to eat

So the aliens landed their ship in a field of buckwheat

The Mammoth demanded they set all the creatures loose

That included the emu, the kangaroos, and even moose

The aliens took off not long after the truce

And promised that their abductions would be severely reduced

As the mammoth man drove home he shook his weary head

And he thought about how most of the animals had already fled

But not the emu for it chose to stay instead

He thought about how he would explain to the southern bell his new pet Ed

Perhaps she wouldn’t look on it with quite so much dread,

If he offered her a ride on the back of his new giant emu thoroughbred

The tale of the mammoth man is done for today

Perhaps we will check back in on him in few years and see if there is more to say

Maybe once the mammoth man is old and gray

We will hear a final tale as strange as the one today.  

An Anagram for 2020 (in rhyme)

Black Steam Train on Building
Go to hell 2020

Let’s be honest, 2020 was a train wreck no matter how you look at it. As the year winds down I find myself reflecting on all the crazy stuff that happened in the last year. It’s pretty unbelievable how much has happened so, I thought I would create a humorous way of remembering the years insanity with a little poem…

An Ode to 2020 in Anagram

A is for Abomination because after the failure of our political leadership this year I needed liberal libations with a side of alliteration.

B is for that bathroom turned bog, because when you can’t buy toilet paper and you have a clog it causes a major backlog.

C is Czech Republic, cause when Poland accidently invades you, you gotta make that shit public

D is for the Dog that was born green. People thought it was a prank, but apparently it wasn’t trying to make a scene.

E is for Election for a new president’s selection. A lot of misinformed people had an objection and called for further inspection, but the courts gave it a rejection.  

F is for Fucked. This year sucked.

G is for Gas, oil prices dropped low, after the conflict Russian and Saudi Arabia, they had nowhere else to go.

H is for Hornets of the Murder kind, they were here and gone fast so I guess… never mind?

I is for Impeached, cause watching Trump’s pathetic attempt to defend himself was like watching a whale that’s beached.

J is for all the jobs lost, and that while many suffer, the Senate and McConnell were more concerned with spending costs.

K is for klaxon, you know, the warning bell. Rona made us see all the things in our culture that weren’t going so well.

L is for long. No rhyme needed, but perhaps I could write a song about how wrong it was to make a year this long?

M is for misinformation that spread across the nation, because half of us can’t tell the difference between correlation and causation.

N is for Novel, a word that means new, masks and stay at home orders were something we all needed to do.

O is for odd, that despite decades of evidence otherwise, people still believed in voter mail fraud and other lies.

P is for pathetic. We learned again that many people in our culture aren’t very empathetic and would rather believe rhetoric.

Q is for those who follow a conspiracy that ends in Anon. For this year they carried the crazy baton and didn’t realize it was nothing but a con. Perhaps they should follow their own advice to get over it and move on?

R is for Racism and Race. No matter how people protested, they were told it wasn’t the right time or place.

S is for star, you know, the one that went missing? That’s bizarre, and it’s not something we should be dismissing.

T is for Tiger King, but for the life of me I can’t understand why this was ever a thing.

U is for UFO’s because Aliens figured, why not keep us on our toes? The pentagon told us… ‘who the hell knows?’

V is for virus and vaccine because COVID-19 messed up our whole daily routine.   

W is for wildfire because half of Australia and the United States were practically a funeral pyre

X is for the exit to this year, Thank god the end is almost here. And for those of you who say that doesn’t start with x, let me assure you, doing this is pretty complex.

Y is for yellow because even though our president is orange, his behavior this year showed us he is a cowardly fellow

Z is for zig and zag, there was so many things that happened this year it made it seem like we lived in a time lag.

I hope you got a chuckle or three out of this. May the year 2021 bring you happiness and joy and the end of all things insane.

Worldbuilding Part 5: Monsters, Aliens, and Evil Androids an Exploration of Fear and Anxiety

Fantasy, Spirit, Nightmare, Dream, Dreams, Haunt, Alien

On May 3rd 2021 Kyra and I did a Livestream reading of this chapter followed by a 35 minute Q&A on Worldbuilding. You can find that here.

In February of 2021 I wrapped up a book project with a fellow Anthropologist by the name of Kyra Wellstrom. The book is called, Build Better Worlds: An Introduction to Anthropology for Game Designers, Fiction Writers, and Filmmakers. You can find it at that link. The purpose of the book is to use real anthropology to help people create better worlds and more authentic characters based on the actual science and data on culture. What follows here is one of the final chapters of the book (which is now in Beta Testing) and will be out this fall.

You can find the other blogs on worldbuilding here

Chapter 21

Monsters, Aliens, and Evil Androids an Exploration of Fear and Anxiety

What is a monster?

It has been stated by numerous philosophers and ethnographers that monsters are simply the embodiment of cultural fears; our anxieties made flesh and blood. We see these reflections and patterns across cultures and over again and for good reason. The monsters a culture believes in often shed light on the things they fear most, and monsters that emigrate to new cultures often change their form in their new surroundings. Monsters represent a fascinating blend of the familiar and the foreign; easily recognized but alien enough to terrify. Many monsters possess elements of humanity and exemplify the very worst elements of culture as a form of hyperbole. Their faces are what changes most easily. It is the bones, the marrow of the spirit of what a monster is, and the fears that they embody, that reflect the heart of what it means to be human.

Like our anxieties about death, monsters often follow patterns that reflect our collective fears as a species. Just like we see in every horror movie, monsters attack in lonely places, in the dark, and in our sleep. They reflect the anxieties we have about our natural environment and they come from the water or caves or the night sky. Demons and spirits come for us when we are weakened by illness, childbirth, or impending death. They target the isolated, the frail, and the young. They can often appear human to gain our trust, only to reveal their true forms when it’s too late to escape them. They can lure or entrap us through promises of food, or comfort, or money; playing upon our moral weakness and greed.

Think of how often a monster’s teeth are discussed. Monsters often feed off humans, either in a spiritual or a literal sense. Vampires suck blood, zombies eat brains, dragons and sea monsters devour virgins. Even in modern monster movies, monsters nearly always eat defenseless humans. Giant animals like sharks or snakes, aliens that feed us to their young, or giant kaiju that eat us like popcorn. They are discussed with terms like “fangs”, “razor-sharp teeth”, “drooling”, “sucking”, and “crunching”. Hell, even killer clowns from outer space cocoon us for later consumption.

When you consider our species, these fears appear logical. Imagine early humans, alone on the African plains, surrounded by frightening animals that lurked around every corner. These monsters were very much real, but this did nothing to lessen their terrors. We were small, between three and four feet tall, we had terrible night vision and no claws or fangs to help defend us. We were prey to birds and leopards that could drop from above. Snakes grabbed us from holes in the ground and lashed out with sharp poisonous fangs. Lions and hyenas slunk through the darkness just beyond the edge of vision, shadows out of the corner of our eyes, and crocodiles and hippos lurked in rivers and lakes making people disappear beneath the surface. Our only protection from the creatures that wanted to consume us lay in the light of day and our campfires, in our culture and its defenses, and in each other. The darkness, the water, and isolation became a natural reservoir for our terror.

Modern monsters

Most of the world now lives apart from these real monsters. The megafauna that hunted us like any other prey are gone and the remaining large predators are dwindling in number and range. The vast majority of humanity has nothing to fear from large beasts. However, our fears remain. A tremendous number of monsters are described as being “prehistoric” or pre large scale human civilization.. We find these descriptions from as far back as we have writing. Many monsters that haunt religions are described as being from the time before their deities created peace and order in the world or before the world was civilized. Writers of weird fiction and cosmic horror like H.P. Lovecraft write of “antediluvian terrors” and “prehistoric nightmares”. It’s as though we as a species have some lingering genetic terror of the time when we were small and vulnerable. Coupled with our gifts as a species to spin tales and exaggerate for the purpose of entertainment, many of these creatures became larger than life when they filled our nightmares.

Many monsters also reflect the fears we still face in the modern world, despite our cultural advances in the last 3 million years. We can still all too easily be carried off by disease or poison, by other people, or, worst of all, by unknown causes. These very real and very human fears are interpreted through a cultural lens. Numerous cultures speak of spirits that will steal a woman’s life away during childbirth if attracted by her cries. This is particularly common in foraging cultures where the margins for survival are slim and medical care is an at-home affair. Cultures with a focus on purity (Catholicism and Malaysia are good examples of this) have demons that possess the body and cause their vessel to break the laws of the society, causing bouts of violence, sin, and general bad behavior. Industrialized nations tend to have human monsters, serial killers, zombies, or criminals, that reflect the unease we feel when surrounded by strangers, as well as anxiety about dark crowded spaces.

To die, to sleep…

Sleep is one of the reservoirs of fear for humans. Sleep makes us vulnerable as we lay unawares in darkness for hours on end. Sleep also exposes us to the world of dreams, which are as likely to be horrifying as they are to be pleasant. Many cultures have tales of beings that can drain the life from a person while they sleep, often while the person is awake but trapped in a horrifying state of sleep paralysis. People’s sleep paralysis nightmares almost always follow patterns; in the US, sleep paralysis monsters have passed through different phases. In the 1990s, when the cultural zeitgeist had become fascinated with aliens, sufferers often reported little gray men with giant eyes performing tests on them. In the early 2000s, when there was a spate of demon-child films, people began to report nightmarish children crawling on to their beds as they slept. Suffers from southeast Asia tell stories of a horrible old hag with white skin who sits on their chest and slowly chokes the life out of the sleeping person while they lie awake and unable to move or cry out.

This monster, the dab tsog in the Hmong language, became widely known in the 1970s and 80s when there was a rash of deaths attributed to it in the United States and Thailand. More than 100 Hmong refugees in the U.S., almost exclusively men in their 30s, died in their sleep from unknown causes. Some men reported nightmares about the dab tsog at the time. Men became terrified of sleep and would try desperately to stay awake. The story so intrigued director Wes Craven that he went on to write A Nightmare on Elm Street in 1984. Instead of the white-skinned hag, however, Craven changed the face of the monster to that of a disfigured homeless man who had chased him as a child and changed him from an evil spirit to the ghost of a murderer.

Stories of night hags may be so common in southeast Asia because of a very real genetic condition. Brugada syndrome causes electrical abnormalities in the heart that can lead to Sudden Unexplained Nocturnal Death Syndrome (SUNDS)[1]. This syndrome is found most commonly in Southeast Asia, particularly Laos and Thailand, and predominantly affects men, with most deaths occurring between 30 and 40 years of age. A monster that kills men in their sleep is a much more palatable explanation, especially before the era of electrocardiograms, and no explanation at all. A night hag may be terrifying, but not nearly so terrifying as the unknown.

Sometimes monsters are used to explain myriad, nebulous fears; things we could hardly put into words. The wendigo is a perfect example of this. Territorially, the wendigo is one of the most widespread monsters in the world; it’s spoken of in the mythology of a collective of First Nations groups all across subarctic Canada, stretching from the Rockies to the Atlantic coast and down into the northern United States[2]. While there are slight variations in the story between the various groups, the stories all agree on the main features of the monster. The wendigo is a fascinating monster because it is a curious mix of a physical creature, a possessing spirit, and a culture bound syndrome (see chapter 10). The physical body of the wendigo is towering and lanky, with enormous clawed hind feet and paw-like hands. Its breath starts off howling, icy winds that blow with such force that they can blow down trees and even start tornados. Its heart, and sometimes its other organs too, are made of solid ice. Its most distinctive feature is its insatiable desire for human flesh; so strong that it eats off its own lips in its hunger, baring its pointed teeth.

Wendigos were once human. Once the wendigo gets hold of you it changes you into a monster like itself. This is where the wendigo begins to shift its mythological form. I can get hold of you in a number of ways: through dreams, visions, possession, physical force, or even through your own thoughts. If it catches you physically, it does so while you’re out hunting. Those who venture off into the forests in winter and never return are thought to have been taken by the creature. It captures you and transforms you into a monster like itself. If it catches you though your thoughts or dreams, it has worked its way into your head through your hunger and cold. When a person dreams of a wendigo, they begin to have cannibalistic desires towards their own family. Most cultures believe that a person in the early stages of wendigo madness can be stopped and cured, although often the cures are horrifying enough, but if the person actually consumes any part of another human being, they are done for. There’s no hope for a person who has gone wendigo and the only course of action is to kill them for the safety of the group. There are numerous recorded cases of wendigo killings in tribal and legal records throughout the 19th and into the 20th century. The diagnosis of “wendigo madness” is found in psychological papers throughout this time as well as a way to explain a temporary psychosis with a focus on cannibalism.

Look at the main features of the wendigo story: a monster of cold that lives in the wild spaces and feeds off hunger. It drives people to cannibalize their family and turns them into cold-hearted monsters. It will ultimately separate you forever from the people and civilization you love and strip you of your humanity, leaving you to wander alone in the freezing wilderness. These fears are easy enough to imagine in subarctic Canada, where temperatures that go well below freezing and isolation caused by snow and weather can lead to starvation and madness over the long winters. It’s the same set of vague fears that drive Stephen King’s The Shining or John W. Campbell Jr.s Who Goes There?. The wendigo is a single, corporeal manifestation of these fears. It groups them all into one grotesque form and gives them shape.

Fears of domination, experimentation, and colonization

In the pantheon of monsters, aliens are relatively new. In some ways, they are just a new face on the same stories people have been telling for millennia. Space, after all, is just a combination of those things we fear. It’s cold, dark, isolated, far older than our little planet, and almost completely unexplored. Aliens are often just monsters from this final frontier rather than our own backyard. Many aliens fit the mold of grotesque, slobbering, man-eaters, or shape-shifting deceivers. Even stories of alien abductions, lost time, and mysterious lights are nearly identical to stories that people have been telling for centuries about fairies, will-o-the-wisps, and the little people of the hills, all of which can lead you away and trap you in another world.

But aliens can embody fears that other monsters cannot. These fears, like all others, are reflections of the time and culture in which people live. Aliens as colonizers, as invaders, and as dispassionate scientists are all reflections of the fears that stalk people in the industrial age. H. G. Wells’ War of the Worlds (1895-97) was written after the author and his brother discussed the terrible disaster the Tasmanians suffered after their invasion by the British[3]. Wells was musing about what would happen if someone did to the British what they had done to the Tasmanians. In fact, there were many “invasion” stories written at that time, although Wells was the only one to use aliens as his aggressors. Britons were worried that their military might was waning and the increasing armament of Germany and France stoked anxieties that the British would face the same treatment they had given their colonies.

Throughout the Cold War, science fiction featured alien invaders, either working secretly or in open displays of aggression, trying to take over the Western World. Endless troupes of aliens landing on the White House lawn fill the fiction of the 1950s and 60s. Change “aliens” to “Russians” and you have a nearly exact mirror of what Americans feared happening at the time. Many aliens are often a gestalt consciousness, a shared mind, or can manifest as a kind of extreme conformity and the end of the individual as seen in the famous Star Trek villains, The Borg. We can also look at the protagonists in these films and see the kinds of qualities they embody and how they reflect the morals and values of our society like a modern myth or morality play.

Many science fiction stories from that time also reveal an uneasiness about the level of violence and aggression the world was experiencing. In the 1950s the 20th century was only half over and had already seen two world wars, half a dozen genocides, and the invention of weapons that could unleash destruction on a level we had never dreamt of. Many films in the 1940s and 50’s, perhaps most recognizably exemplified by The Day the Earth Stood Still (1951), feature aliens as advanced beings, capable of great destruction but also of nearly miraculous feats of science and medicine, who come to Earth to warn us away from a path of violence. Klaatu, the alien emissary, warns all of Earth’s leaders that  “Your choice is simple: join us and live in peace, or pursue your present course and face obliteration.” People around the world, after decades of violence, nationalism, and xenophobia, were afraid. They feared that the ever-mounting aggression would eventually lead to a conflict that no nation could win.  

“I know that you and Frank were planning to disconnect me, and I’m afraid that’s something I cannot allow to happen…”

The famous words of HAL 9000, the evil artificial intelligence that coldly murders it’s crew in the sci-fi book and film 2001, demonstrate another one of our fears made manifest, our fear of the dangers of technology.

On August 6th, 1945 the world entered a new age, an atomic age. After the first atomic bomb was used on a population in Hiroshima, our relationship with technology changed forever, and with it, came the rise of a new kind of monster, one of our own making. To be sure, humans have always had anxieties about new technology, and with the industrial revolution came literature about automatons (what we now call robots) and other technological wonders that sometimes turned against their masters. One of the earliest examples of modern science fiction, Mary Shelly’s Frankenstein, explored the potential and dangers, as well as the deep philosophical questions surrounding electricity. Shelly set off a wave of stories, that even to this day still discuss the idea of our technological creations getting the best of us.

As Anthropologist Willie Lempert explains in his article, Navajo’s on Mars [4] humans have developed countless films, like The Matrix, 2001, and Terminator, to highlight our fear of technology. Even the new Star Trek Series: Picard features a plotline surrounding evil ‘synths’ and questions about the humanity of artificial intelligence and it’s compatibility with organic life. Part of this has to do with our religious worldview, the idea that in most of western European based culture, there is only one kind of intelligence, humans. As we talked about in the religion chapter, other cultures have multiple kinds of intelligence. Further, our fear of AI may stem from the idea that only the Judeo/Christian God has the true power of creation. Ultimately though, fear of AI stems from the fear of what we do, to what we consider to be inferior species.

As we entered the 1980s and 90s, aliens changed slightly. No longer were they brazen colonists landing on our shores, they were shadowy and subversive, often entwined with the murkier branches of government. Aliens and the government branches that studied them would abduct people and experiment on them. They would implant people with tracking devices, create alien/human hybrids, and mutilate cattle in their ruthless quest for data. They were cold, unfeeling scientists that existed outside of human empathy or compassion. The declassification of wartime documents about Nazi scientists, exposure of government experiments like MK-Ultra, and a number of dubious psychological research projects like the Stanford Prison Experiment were increasingly making people uneasy about science and scientists. The perpetrators of the experiments seemed, to regular people, just like the inhuman aliens from another planet. Add this to a growing dissatisfaction with the government nearly everywhere in the world and the X-Files style alien/government conspiracy became not just a popular element in fiction, but also an integral part of the mythology of the time period.

When you are creating memorable monsters or antagonists in your world, it’s important to consider the core values of your fictional culture. Remember the chapter on Imagined Past, Myth and Cultural Purity? The core lessons of that chapter are essential to creating a creature that challenges the core values of your characters, and readers, world view.

Chapter Exercises

Things to consider when creating monstrous beings in your world:

– What are the most significant fears and anxieties of the culture?

  • What are some memorable features of your creature? What keeps people up at night?
  • How does your creature tie into the myth structure of your world? Sense of purity?
  • Is your monster/creature sentient? How are it’s goals similar or different to your main character?
  • What arenas of your culture does the monster most impact?
  • What’s at stake if your protagonist fails to subdue the creature?

Works Cited


[1] Human Molecular Genetics, Volume 11, Issue 3, 1 February 2002, Pages 337–345, https://doi.org/10.1093/hmg/11.3.337

[2] Monsters David Gilmore – University of Pennsylvania Press, Inc. – 2009

[3] What The War Of the Worlds Means Now Philip Ball – https://www.newstatesman.com/2018/07/war-of-the-worlds-2018-bbc-hg-wells

[4] Navajo’s On Mars William Lempert https://medium.com/space-anthropology/navajos-on-mars-4c336175d945





Worldbuilding on the Cheap: A recording of the panel at CoSine (Colorado Springs) January 2020

Last weekend I was on a panel with three other awesome authors discussing some of the core points on Worldbuilding in fiction. With permission I recorded the panel for anyone to listen to. You can play the recording below.

You can also check out my co-written book on worldbuilding with another anthropologist. Check out Build Better Worlds: An Introduction to Anthropology for Game Designers, Fiction Writers, and Filmmakers.

Recording of the Panel Worldbuilding on the Cheap January 2020

The Panelists:

Michael Kilman is a lecturer in the Department of Anthropology at the University of Colorado at Denver. He is the author of The Chronicles of the Great Migration and coauthor of the forthcoming book (August 2020) Build Better Worlds: An Introduction to Anthropology for Game Designers, Fiction Writers and Filmmakers. He is also the host of the YouTube Channel Anthropology in 10 or Less you can find more resources on worldbuilding on this page at Writing and Writing Advice

Stant Litore is the author of Ansible, The Running of the Tyrannosaurs, The Zombie Bible, and Dante’s Heart. Besides science fiction and fantasy, he has written the writers’ toolkits Write Worlds Your Readers Won’t Forget and Write Characters Your Readers Won’t Forget, as well as Lives of Unstoppable Hope and Lives of Unforgetting, and has been featured in Jeff Vandermeer’s Wonderbook: An Illustrated Guide to Creating Imaginative Fiction. He has served as a developmental editor for Westmarch Publishing and holds a Ph.D. in English. He lives in Aurora, Colorado with his wife and three children and is currently at work on his next novel.

For more info check out https://stantlitore.com/ and his Patreon Page

Jim Henderson is a writer of fun, varied, and technically sound science fiction adventures that also explore the human condition. A long-term Air Force veteran and cybersecurity professional with decades of experience in intelligence, communications, computers, and cyber operations, he has been a life-long aficionado of science fiction in almost every form – books, movies, TV, and games (role-playing, tabletop, and computer). When not mentally exploring the universe, he lives with his wife, stepson, and two dogs and enjoys hiking in the mountains of Colorado.

Find out more at https://mantissaga.space/ https://www.facebook.com/JimHendersonMantis

Mantis Saga on Amazon

Charles McLean Redding is an artist and author local to Colorado Springs, as well as an active member of the local theater community. His Wasteland Bears have turned heads at conventions throughout the region over the last few years, and his upcoming works include Western Steampunk, Post-Apocalyptic Fantasy, and Asian Mythic Fantasy titles, as well as his ongoing Snack Pack: Raptor Comics.

Check his stuff out at Facebook and on his Patreon Page

Creating Tension in Writing

One thing that can really make or break a piece of fiction (regardless of format) is the tension. It’s often is missing when something goes horribly wrong and (for me at least) it was the what was seriously wrong with the final two seasons of Game of Thrones. So, I thought I would throw together a few important things to consider in writing and building tension. A warning if you are sensitive to talking about sex, this is going to be an R-rated blog.


1. Building Anticipation

Tension in storytelling is a lot like really good sex. It’s really rare to have great sex that is just the, let’s stick it in variety. Instead, like fiction, there is teasing and touch and playing with the body (reader). You reveal just a little bit at a time, building anticipation and pleasure until your partner (reader) absolutely needs to go all in. You take your time, but you move with a kind flow and rhythm, you let things rise and then pull back, rise and then pull back and then there is a point in your story where it is, indeed time for full steam ahead and you go for it.

If you think about it, that’s what a master of storytelling does. They give you glimpses and foreshadowing of what’s to come. The set the frame of your mind and they control the narrative. This is particularly important in genres like horror. An example of really effective tension building is the film Paranormal activity.

Image result for paranormal activity

Sorry… but it’s been quite long enough for spoilers! If you haven’t seen the film you can always leave now and come back later…

The great thing about this film is how each night is an event that ramps up the tension a little. Virtually no scene is wasted and there is a great interplay between what the characters experiencing each night, and then reliving it through the following day. Each day the tension builds just a little, until the shit hits the fan in the last fifteen minutes of the film.

The story itself offers almost nothing unique. It’s found footage, it’s dealing with a lineage demon, and of course ultimately there is a possession. But the writer and filmmakers give you just enough in each scene to slowly and gradually ramp up the tension and the creep factor. You aren’t bludgeoned over the head with something outrageous the moment it begins. Instead in the first few minutes of the film, you wonder to yourself where this could possibly get creepy. Half-way through the film, you can feel your heart rate increase every time you get some of the bedtime footage and ultimately the payoff is great. But without the tension, this film would have been slow and boring.

2. Framing and Foreshadowing

But what about films or books that have a lot of downtime, that take a bit of world building to get to that good tension building?

Jurassic Park is an excellent example.

Head over to YouTube for a moment and watch this scene if you aren’t familiar.

The scene itself foreshadows what’s coming. The first thing you see after the credits is something rustling through the trees. Just like later when the T-rex makes it’s first deadly appearance. In this scene you see the creature watching the man walk on top of the kennel (shipping container, whatever you call it) as they try to move the Raptor into position. The key to this scene, the great foreshadowing it does, is that you have dozens of men with guns, you have a number of precautions taken to prevent the dinosaur from hurting anyone, and yet, still, ‘life finds a way’ and things go horribly wrong. Notice the kinds of camera angels, the key dialogue, the set design, lighting, and everything else. All of it creates this perfect tension where you just know something is about to go wrong.

Image result for t rex jurassic park

After this scene it takes some time to assemble the characters and get them all in the right place for the real story to begin. Mixed in there you have the science behind the story, the introduction to the wonders and beauty of the park itself and how the characters fall in love with the idea of meeting real dinosaurs. But in the back of your mind, that opening always looms, all that foreshadowing, frames your experience. And each piece of dialogue seeks to serve a contrast between wonder and terror.

If you know you are going to have a slow build, framing something big in the beginning can be a powerful way to start the tension rolling while giving the reader something to think about. Speaking of which…

3. Sustaining the Tension (Give them something to think about)

One thing that I think many films and books struggle with is sustaining tension. One way to do that is, even in moments where this is no apparent tension in place, creating tension can be successfully done by leaving unanswered questions or creating a state if disequilibrium for the characters. Did you leave a character in real serious mortal danger at the end of a chapter? Did you drop a philosophical bomb on your audience and leave them pondering it while you diverge into another character or area of the book?

Image result for the black prism

This happens a lot in books like The Light Bringer Series by Brent weeks. In moments where there won’t be tension and he has to get a character from point A to B, he often leaves off the previous chapter with some large revelation, some grand conflict, or some serious question that the character must address. This makes your reader turn that page, even if the current chapter isn’t as intense. Why? Because you’ve instilled a kind of artificial anxiety in your reader and that makes them want to know just what the hell happens.

This is actually why, despite some readers hating cliffhangers… I still use them all the time. All of my favorite books and series utilize these tools and it’s one of the reasons I love them. A good story keeps you on edge, keeps you anticipating all the time… but…

4. Never give them everything they want.

Okay, maybe not never, but if you always keep things predicable and similar, if the character always get’s out of danger, or their assumptions are confirmed, your boring the hell out of your reader and probably out of yourself writing it.

Cliffhangers don’t have to resolve in ways we might expect. You might leave your character surrounded by what they think is an enemy, but maybe they are allies in disguise? Maybe they are an enemy but they can’t recognize the main character? The point is, if you always use cliffhangers in the same way, if you foreshadow too much and make things obvious, it will kill the tension.

Tension is about keeping the reader on their toes, about giving them another reason to turn the page. But, if you use too much tension you also risk overwhelming your reader. Find the flow or rhythm, let your pages breath a little, not everything has to be constantly tense.

What are your favorite ways of building tension? What books do you think do it best? Comment and let me know.

World Building Part 4: Six Things To Think About When Constructing Myth In Fiction

Fantasy, Goddess, Mystic, Serpent, Snake, Woman, Myth

Want a much expanded book on worldbuilding and anthropology? Check out Build Better Worlds: An Introduction to Anthropology for Game Designers, Fiction Writers, and Filmmakers, now available on Kindle!

Myths are fascinating and interesting arenas within cultures. Every culture has some kind of myth story (but not all cultures have creation myths i.e. the Piraha) that helps us to understand what in the world we are supposed to be doing as human beings.

But here’s the thing. There are a lot of video games and fiction out there that just throw in cute myth story for no apparent reason. The myth is fascinating but doesn’t have any weight in the character’s lives. The culture gives it a nod here and there and it holds no real consequences in the society. This is a major problem. This is where many fictional worlds go wrong. So here is a list of things about myths that you should consider in order to create better cultures and better worlds.

Note: You may want to check out Worldbuilding parts 1-3 over here

1. Myths aren’t just about religion. They aren’t all false. They are repositories of knowledge a culture uses to interpret reality.

Every country has a myth about it’s creation. In the United States we tell a story of the Founding Fathers, a group of men who fought for liberty against the tyranny of the King of England and ultimately won out. Upon the granting of our independence, a sacred document was penned to replace the faulty Articles of Confederation that tenuously held the colonies together. This document is called the Constitution.

Every American grows up hearing this. We interpret these stories and this document over and over when new ideas, technologies, court battles, as they come into our culture. That document and it’s amendments structure the values of our society and so, there are endless debates and interpretations of what those men wrote. This is a very active and powerful myth structure.

When you create your myth structure, be it religious or secular in nature, what impact does it have in society? How do people debate the meaning of those myths? Are their other myth structures at odds with the dominant one? For example, how do the Christian myth structures support or conflict with that of the Founding Fathers and the formation of our country? We see constant debates on laws and rights based on these two competing (and sometimes overlapping) myths. This is an arena in fiction that is rife with making authentic and interesting conversations that your characters and cultures have.

2. Myths structure our idea of purity

Mythology also tells us what good and bad things are in society. Not all myths are concerned with simple binaries (regardless of what structuralists might think). But many of them identify what things are good and bad to have in a culture or give prescriptions for the kind of mind, body, or spirit to cultivate.

Returning to the American example, the political myth of our country includes a number of concepts about what kinds of governments are good and bad. Who should have the right to vote (which has changed over time) and with the Bill of Rights, attempts to map out the rights of citizens that are required to keep maintain a working political system.

Myths may or may not include the following

  • What things are we supposed to eat/avoid
  • What are good/bad/ideal sexual relationships or practices
  • Marriage patterns
  • Clean and dirty parts of the body and when or why you should wash
  • Important dates
  • Important people
  • How we mark or think about time
  • What kinds of intelligences are there (does nature have a will of it’s own? Is there an all-knowing being in the sky? Does a fox have human intelligence? ect.)
  • How many genders are there? Which one is in charge or are they equal? Are there more than two genders (recall part 2’s conversation about the Native American Two-Spirited system with up to five genders)
  • How was the world created?
  • Will it be destroyed? When? How?
  • What about disease? Is there germ theory? Is, like in the middle ages in Europe, smell associated with disease?
  • How about the question of suffering? Is there a being that makes suffering? Is suffering from ignorance? Is suffering a thing at all?
  • Is there free will?
  • How many lives do we have?
  • What words are sacred/dangerous?
  • Is there a certain style of dress or attire or tattoo or body modification that is considered sacred or taboo?
  • What is reality? Are we living in a giant theater performance? Do we live in a simulation like in the Matrix? Is there a better place to go when we die? A worse one? How do physics/magic/will structure reality?

You don’t have to include all of the above but you should at least consider them and their ramifications. Lots of tension and conflict in fiction can, like in the real world, arise for competing myth structures or provide interesting limitations that characters have to work with.

3. Myth legitimizes the present social order and system of power

Myth often offers an explanation for why people have the life conditions they do. In Hinduism for example, the Hindu caste system, and the breakdown of wealth and poverty is addressed in numerous Hindu texts. People are born into certain conditions because of consequences of their past lives. In Christian Europe it became popular for Kings to claim that they had a Divine right to be in their throne. In China, an emperor was thought to have a “Mandate of Heaven.” These are a mix of religious and political myth structures that allow those in power to continue to consolidate their power and claim a legitimate right to their station. Similarly in the United States we have the bootstraps myth, the idea that with hard work, you too can one day be wealthy and that often, the poor are lazy and unworthy of success. This myth goes back to Benjamin Franklin. (Check out this podcast “Poverty Myths Busted” on why it’s more complicated than the bootstraps myth suggests and also as an interesting study in myth-making and consequences.)

Your fictional world should include myths that have consequences related to power. Manifest Destiny was the myth structure that justified the Europeans conquerors actions during the 15th – 19th century. It claimed that God wanted Europeans to civilize the world and spend Christianity far and wide. That had some really deep and pretty awful consequences for non-Christians and non-Europeans. Empires always spread their myths. Even the Mongol empire which had freedom of religion and a secular state, still spread it’s myth about the mighty Genghis Khan and the legitimacy of their power.

4. Myths Explain The Nature of Reality

Myths can sometimes act as a kind of proto-science, that provides explanations for the state of reality. In the absence of scientific investigation (and even with it) Myths can provide us with the story of where we came from, why we are here, and where we are going. They can explain why man has two legs, why some creatures have different kinds of tales, what are good morals and values to have and provide limitations on what can/can’t do or can/can’t know. Myths can be flexible and empirical, based on the observation of individuals and experience, but they can also be fanciful and strange or even non-nonsensical to outsiders.

In writing your fiction, remember that even in a secular state, there are many competing myths. We still have creationists in the United States who argue the world is only 6,000 years old, along side scientific evidence that the world is 4.5 billion years old. Which leads me to…

5. Myths mark In Groups vs Out Groups and for the In Group bring Unity

Myths not only structure the way that people see the world and the elements above, but they also make clear cultural distinctions about who is a part of a group and who isn’t. Sometimes this can be as simple as, hey, I subscribe to that belief so I am part of the group. Sometimes, it can something like, in my mythology this particular group of people has different color skin because they are punished by god(s) (yes that’s a real myth story and has some obvious and very dangerous consequences). Myths can tell us, who is allowed to join in the community and who is a pollutant (back to that purity stuff) and a danger to the society. Thus, in your fiction, it can be a source of conflict. Perhaps the origin story of one group states that another group was created by an evil being hell bent on taking over the world. Enter your main character who suddenly finds themselves working with a person who they thought were inherently evil their whole life because of the myth structure they were raised on. Again, myths are a lens from which people see the world and how they order society.

And one final thing…

6. Myths are not monolithic

If you write a world where you have hundreds of thousands or millions of elves and they only have one myth story… you’ve got a serious problem. If you write an alien planet that has only one religion/language/myth/culture… you’ve also got a serious problem. Look around at all the myths in your own culture. How many religions are in the world? How many flavors of each of those religions that use different myth stories to justify their existence? If your cultures only have one myth and everyone agrees on it… that’s lazy and bad writing… unless you do it on purpose. If you do this, you will have to justify why you did it. Maybe there was some event in the past that forced everyone to agree on the same thing? But that has to be one hell of a justification. There are currently 42,000 denominations of Christianity in the world and some of them are very different from the days following the death of Jesus. Over the course of time, myth and politics and religions change. If you are doing one myth as social commentary, or a purposeful reason, make sure you have a good reason for doing it, otherwise it will just come of as lazy and/or bad writing.

If you are going to spend a lot of time creating a myth for your fictional world, make sure it has consequences. Nothing shows poor writing more then an amazingly well built myth structure that doesn’t impact your characters lives or adventures. Myths have weight. They are another arena to build good tension. Use them wisely.

Happy Writing!

Oh and Also, if you like sci-fi check out my books!

The Gathering…

Tree Tunnel at Daytime

Recently, I signed up to take part in a Flash Fiction Contest. The contest gave us a genre, a word, and and an action from which we had to build a 250 word or less story on. My Genre was Suspense/Thriller and here is my story…


The Gathering

“It’s called the Gathering.”

There was venom in that smile. Lips peeled back, revealing wide sharp teeth.

Angela didn’t like Rein. He was an arrogant, self-serving asshole from the moment she met him.

 “The Gathering?” she asked. “What kind of meeting is it?”

She felt a chill.

He considered. “It’s a place where power is recognized.”

He licked his lips. “Would you like to come with me tonight?”

Angela’s stomach tightened. “I… guess so.”

Tired of her assigned fluff pieces, she needed a story that would give her the recognition she deserved at the newspaper. She had a feeling this might be it.

Rein dug in his long brown trenchcoat, and from the depths of his pockets, he pulled something long, soft, and black.

“You have to put this on.”

He put the cloth in her palm. Silky but cold.

“A blindfold?”

He nodded.

She took a deep breath, tied the cloth around her head, and the world went dark.

It was almost an hour’s car ride before they reached their destination. There was a long walk on what felt like cobblestones and then, a change from the cold damp of the autumn air to the warmth of indoors.

“Take it off.

Angela did.

Coldness and fear gripped her as she saw the women tied up, near-naked on crucifixes. There was agony, and there was a gathering around each.

Behind her in a whisper, Rein said, “And now it’s your turn.”

Angela fled.

Rein laughed and pursued.