the other day I had a thought about worldbuilding that was like…okay, so, cars. obviously important and essential part of life.
And yet most of the time when we talk about going to places we don’t even bother mentioning how we got there.
you could potentially write an entire contemporary novel and not mention the word “car” and the reader might not even notice something was out of place.
imagine, someone reading a book set in our world when they know nothing about our technology. imagine a character saying something like “yeah, when I went down to Florida last week…” and the reader just being boggled because isn’t Florida like…300 miles from where the story is set
“I’ll go by the store on the way home” “oh I need to pick up my brother while I’m out” “I’m going to travel up to my aunt’s house for the weekend” it’s breaking my brain.
to people in a world where magic is commonplace, it would be like this. they wouldn’t think to say that the lights in the house or the locks on doors or the carriage on the street work by magic.
of course, in a story we take liberties because the reader needs things pointed out. But think of the kinds of wild things you could do with worldbuilding if you just didn’t go out of your way to explain. Idk.
Whoa
I never thought about it this way but yeah it makes total sense
And like, the followup to “Yeah, when I went down to Florida last week” could be “Did you drive or fly?”
“Huh? Drove, it was only like six hours each way.”
“Holy crap. How many speeding tickets did you get?”
And the reader’s head explodes because in just a couple lines of dialogue:
* It’s possibly to go from [location] to Florida pretty casually in this setting.
* Flight exists as a mode of transport in this setting.
* Flight exists as a mode of transport in this setting but someone would choose not to use it, and yet still not only go to Florida and back in a week, but make the journey one way in under a day.
* What the hell is a “speeding ticket?”
This is really cool, can we have a name for it like “negative space worldbuilding” or something where stuff about the setting is implied by the stuff happening around it?
"Negative space worldbuilding" is a great term for it. For instance:
"Did you drive or fly?"
"Gated. It was an emergency."
"Yow, you can afford that?"
"It's not TOO bad, if you agree to go during off-peak hours. I had to be up at midnight to make the gate hub by 3 AM. Went through perched on a shipping crate full of stuffed animals. At least it's fast."
Yes yes exactly, but think of just HOW ambiguous you can be like this.
Imagine two characters having this exchange:
“Why didn’t you call?”
“I was on the road!”
“I was just worried, no need to get grumpy. Are you headed out tomorrow?”
“Yeah. This is my first time flying.”
“Oh. Are you nervous?”
This scene could continue for a long time without revealing to the reader that we are in a fantasy world that runs on magic and uses scrying stones, carriages and dragons.
In a fantasy novel, we’d write something like this: “She took out her scrying stone. It was a round, polished piece of clear quartz the size of her palm, carved with a specific set of glyphs imbued with magic that allowed her to communicate with other people who possessed similar stones within range.”
But like, imagine it’s not a scrying stone, it’s a smartphone.
A few things:
- I don’t know off the top of my head exactly what a smartphone is primarily made of, and I’m from this world.
- What is its primary function that I have to let the reader know about? The ability to make phone calls? Access to the internet? I’m probably going to go with “remote communication.”
- What does it mean to “get someone’s number?” Are the devices numbered? Who is numbering them? Are people assigned numbers? The reader wonders. But I, as a person living in this world, don’t really know how phone numbers work either.
- These phones are a very new technology that’s changed the world. But what happened to make them possible all of a sudden, after 3,000 years of written history in this world has passed? I’m not sure I can give a complete answer to that.
- Why are they always needing to be charged, the reader wants to know. What charges them? What is a “charger?”
- “Mine’s an Apple charger, it won’t work with yours.” Are your characters charging APPLES????
- It says that the protagonist “hung up.” What does that mean?
- I need to introduce all the abilities of the smartphone early on in the story. It’s going to seem like a lazy cop-out if, in chapter 26, the protagonist is suddenly able to use her phone’s flashlight to navigate a dark area and this hasn’t been mentioned before.
- “She picked her phone up off the coffee table. It was a hand-sized, rectangular device, similar in appearance to a mirror, but when imbued with electrical energy, its surface would display images and glyphs that responded to her touch. The smartphone was one of the most revolutionary technological advances of the twenty-first century. Its primary function was as a communication device, allowing her to send her voice, her image, or messages she typed onto the screen to others who possessed similar devices, but it also allowed her to search compiled records of human knowledge for any information she desired, listen to music, and watch pre-recorded theatrical performances, known as “movies—”