T. S. Eliot once wrote, "The naming of cats is a difficult matter. It isn't just one of your holiday games."
World building, especially in fantasy and s-f, can be like that. Unless you're a linguist like J.R.R. Tolkien (who knew and studied a number of Nordic and Germanic languages in his academic life), coming with names that sound like they belong together without have a whole made-up language to work with can be a big job.
I have been trying to keep the made-up names for my fantasy world kind of organized without going to the effort of making up whole languages. I am kind of going for a Hellenic sound for some, but others have gone more Germanic or English.
The name of the town in Night of the Wind, for instance, began as "Eversham", aiming for a rural English feel. Except I then named the fictitious city in my real world fiction "Eversham" as well and decided it fit better there. So I needed a new name. Having "gor" and "gar" as city name ending already, I decided that must mean "community" in the Tymuri languages (Tymur is the Northern continent of my world, kind of a mash-up of Europe and North America geographically). Madrygor has long been a major city in my imagined world, for instance. So, I came up with Avenigar. Does that mean something? Probably. Nethandra knows what though.
And I have no idea how or when I came up with the name Nethandra. It is the name of both the chief deity, a mother goddess, and the world in these stories. It has been in my head for so long, I really don't know the origins anymore. However, I have wrestled since with naming other deities, originally thinking they should all end in "dra" or similar. And I am still thinking that her consort, the sun god, will have a name along those lines though I haven't named him in a story yet. But I strayed for other deities I have used in stories, such as Denytha (the moon goddess and the patron of magic) and Talala (the "Dancing Goddess", patron of the arts and the city of Tantovar) so that convention is out the window now.
I could go on. I am even no longer entirely happy with the name of my protagonist, "Dev Jackalbury". It was was conceived when I had Avenigar as "Eversham" and meant to sound vaguely, but not quite, English. Does not quite fit that anymore, though, but I will live with it and sort it out sometime. He's not from Avenigar anyhow, but grew up further North, which I haven't really detailed beyond it being a rough, rugged region where a lot of their mineral resources are mined.
Enough for now. Any thoughts on naming things and using "made-up" words and languages? Ideas on how to keep the words feeling "real" without making up an entire language?
Putting the kettle on for tea. Anyone else need hot water?
Finally got around to reading A Runner. Magnificent. First time I've tweeted a Stories Space story that wasn't mine, though that's something I plan to do more of. Good way to promote the site (hint hint). Thanks for the recommendations, folks.
I'm off for the holiday period so have some ideas around doing some writing. We shall see what comes of it.
Symphonic metal, art rock, prog rock, exist in a bit of weird space where popular styles mix with classical skills and composition. I love all of them, probably for that very reason.
And, yes, I've listened to The Greatest Show on Earth. Incredible piece of music. Nightwish are really something else. I've listened to some other symphonic metal since getting into them but they seem to be the cream of the crop in that genre.
My favorite composer of music from pretty much any style or period of music is Ludwig van Beethoven, born 250 years ago this week (either yesterday or today depending on source). He marks the transition from the Classical period to the Romantic, and you can see that in his music. Many of his compositions are "cultural knowledge" in Western culture, and even other cultures, popping up in soundtracks, ads, and even being adapted for other styles of music (I can think of two pop songs right off the top of my head based on the Adagio from the Pathetique piano sonata).
Anyone else fond of classical (meaning anything from the Baroque to Romantic periods, including the Classical period, and even modern orchestral and choral music if you like) music? Got a favorite composer, period, style, or whatever of classical music?
I'm off for the holidays starting next Monday so might get some writing done. not sure what as of yet. I have some work done on a story in the universe of Night of the Wind. I have been tossing around ideas for the literary challenge. And there's always the chance that some new idea will spawn in my brain.
Hope Sara is keeping warm. We actually turn our thermostat down and use a space heater to just heat the home office during the day. Keeps the heating bills down in our frigid Canadian winter.
Good luck with the tooth, Larry. I have a gap myself but that was a battle that went on for like a decade. Was going to get an implant done but backed off when COVID resurged here. Maybe next year if things quiet down and/or I get vaccinated (looks like we are going to lag behind the US though).
The Werewolf of Paris by Guy Endore. While it was written by an American in 1933 (and uses that as part of its framing device), this classic novel is set in France in the mid-late nineteenth century and doesn't do a half bad job of feeling like it belongs to that time. There's definitely some Victor Hugo DNA in it. While the title character definitely places this as a horror novel, much of it is historical melodrama with events like the Franco-Prussian War of 1870 and the Paris Commune playing roles in the story. And, while the werewolf is certainly the focus of the horror, the humans are often as bad or worse. I mean, the werewolf is conceived when a Catholic priest rapes a fourteen-year-old serving girl sent by her mistress to get some holy water. How much lower can you go than that? Interestingly, lust is as powerful a force as violent hunger in this werewolf story, and it is really about humans, werewolf and ordinary alike, being overtaken by their animal nature. Even the scholarly Frenchman whose writings provide the American narrator with his material gives in to uncontrolled, and somewhat violent, lust for the werewolf's mother (while she is pregnant, no less). Not as famous as other seminal horror works like Frankenstein or Dracula (there is only one direct film adaptation and even it changed the story and setting), but it certainly helped establish and popularize some of the tropes of the modern werewolf novel.
Unfortunately, while the novel dates to 1933, Endore died in 1970 so it is still in copyright in countries that are life+70, else I might have some ideas for using it for the literary challenge.
Good evening, all. Getting too late for caffeine so an herbal tea will do. Lemon ginger is my usual.
Happy birthday to Xander! I'd gift wrap Jane Lynch for you but kidnapping is still a crime last I checked and, in any case, I doubt I'd be able to convince the border folks that it's essential enough to let me cross.
Hi, Xander! Hi, Larry!
I am missing a tooth right now myself. Had it removed in August. There's a long story but it finally had to go. Was going to get an implant done before Christmas but with the COVID surge around here, decided to wait until things quiet down.
I really need to give Weakest Link a view sometime, I guess. Had kind of forgotten it existed until Xander started talking about it. Didn't even know Jane Lynch was now the host for the US version. No one has tried mounting a Canadian version, yet.
Snowing here again but what else is new. It's December in Ontario. Drinking a nice lemon tea (Tea Haus Lemon Grove) as I work.
I also had worked on a "horror universe" in the vein of The Cthulhu Mythos at one point, too, but kind of let it slide. Still it could come up here.
The Cthulhu Mythos is an interesting example of worldbuilding, though. H. P. Lovecraft did not set out with a definitely plan. He just wanted to have a sense of something bigger behind his stories so started dropping names and odd references to fictitious books and places. The locations, like Arkham and Innsmouth, were mostly drawn from his life. Arkham is mostly Providence and Salem, for instance. The names were sometimes made up (e.g. Cthulhu, Shub-Niggurath), sometimes borrowed from older works (e.g. Hastur). Most importantly, though, he left it as an open-ended shared universe. Friends and fellow writers like Robert E. Howard, Clark Ashton Smith, Henry Kuttner, and Robert Bloch used Lovecraft's elements in their stories and Lovecraft in turn borrowed elements that they added for his stories. In one memorable exchange, Lovecraft gave Bloch permission to kill him off in one of his stories (Bloch's first published story, IIRC) and then killed Bloch, under the alias Robert Blake, off in The Haunter of the Dark. Bloch wrote a further followup but IIRC, it did not come out until after Lovecraft's death put an end to the game. Basically, it was ad hoc worldbuilding and each writer kind of had their own take on it.
And so it continued, with various writers like August Derleth, Lin Carter, Ramsey Campbell, Brian Lumley, and even Stephen King borrowing from and adding to the Mythos. Derleth did try to codify it for a time, but that just made it less interesting and later writers tried to move away from Derleth's ideas.
Of course, it is pretty much the opposite of the worldbuilding in fantasy, which is often quite rigorous and carefully developed. Look at all the publications the Tolkien estate has got out of just compiling all J. R. R.'s notes and unused bits regarding Middle Earth. And George Martin has clearly put in a fair bit of time on A Song of Ice and Fire.