The Prophet’s Chronicle Storyworld

One of the things fiction allows us to do is examine hypothetical situations that don’t exist in the real world. A novel is a large-scale thought experiment. This is true of any fiction, but doubly true in speculative fiction. The whole point of science fiction and fantasy is to explore worlds that don’t actually exist.

The storyworld in which my first novel, Alara’s Call, and the other books in the series are set is modeled after nineteenth-century Europe, with all the small countries close together and interrelated royal families and court intrigues. But for all its differences, Europe was long united by a single dominant faith, and most countries had similar governing systems. In my stories, I want to examine several contrasts. This meant I had to set up the storyworld in ways that differ from Europe.

Alara's Call Storyworld

Mary Elizabeth Hall helped get my storyworld out of my head and onto a map. When I started, the sea didn’t have a name. She convinced me to give it one.

Polytheism vs. Monotheism

Alara is a Telshan cleric. Telshanism is a religion closely modeled on Christianity. So one of the things the storyworld needed to have was a polytheistic religion. There are several such traditions in Europe, though they gave way to Christianity centuries ago. The main inspirations for Kivatanism, the polytheistic religion of Alara’s opponents, were the Greek and Norse pantheons.

The northern nations of Apanumon and Makut are predominantly Kivatan, while the southern nations of Glynrell and Redíque are predominantly Telshan. The Telshan faith is Trinitarian, with an important difference from Christianity.

Some of us occasionally refer to the Holy Spirit as “she,” because doing so helps us acknowledge the feminine nature of God — who must have a feminine nature because both male and female are created in God’s image.

I took that notion and flipped it, so Alara’s faith has a feminine Creator, a feminine Redeemer, and a masculine Counselor. This has led some people to liken Alara’s Call to The Shack, but I’m pretty sure none of those folks have read my book yet.

It was important to me not to have an all-female trinity, because that would incline people toward matriarchy, which isn’t where I wanted to go.

Patriarchy vs. Egalitarianism

Because matriarchies are not often found in modern culture, I am more concerned with using these stories to examine the differences between patriarchy, which we often still find, and egalitarianism, which we currently strive for yet often fail to achieve fully.

In Christianity we have a verse that says “There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus” (Galatians 3:28 NRSV). Yet we often don’t behave as if that were true. I’ve given the Telshans a similar verse, and it informs every story in the series. My construction of Telshan culture exists largely to show what a truly egalitarian society might look like.

To contrast that, I established the Kivatan countries as being strongly patriarchal. Their faith limits women’s roles and restricts their activities. The Kivatan faith allows polygamy and gives fathers complete control over daughters’ lives. Women do not participate in the public sphere at all, while in Alara’s country women have complete freedom.

If I’m honest, Alara’s culture is a meritocracy. One’s status is dependent upon one’s abilities and accomplishments. I hope to examine that more closely in Book Two.

Monarchy vs. Democracy

The United Kingdom’s parliament made a start at democracy, and heaven knows large parts of the French population tried repeatedly to democratize that country. Nevertheless, nineteenth-century Europe was still largely monarchial, as is my storyworld.

In Alara’s Call, her home country of Glynrell, where the Telshan faith is predominant, stands as the only democracy. Alara’s mission becomes advising world leaders about democracy and egalitarianism. Naturally, they are not too pleased by her message. Much of the conflict, not only in this book but in those that follow, centers around the desire of monarchs to hold onto power despite the will of the people and the words of the prophet.

Of course, anyone who knows anything about European history can see where this is going. I trust that the fantastical spins on the journey will make the effort worthwhile to readers.

When you’re creating a storyworld, whether it’s fantastical or historical, consider what you need the storyworld to have for your story to do the things you want to do. Setting is an important element of fiction, and your storyworld can and should both affect your story and be affected by it.

Q&A: Do I Need Italics for Flashbacks?

question answer


Q: I used italics in a scene with a flashback, but my critique partner said I should never use italics. Here’s the part I put in italics:

He sat in the cold hospital waiting room, feeling numb. This was just like when Mom died. We did all we could, the doctor had said. 

I thought characters’ memories were supposed to be italicized. Now I’m confused. What’s the right way to do this?

A: Confusion is understandable, for a several reasons.

First, you’re not the only one who’s confused. Your critique partner is—I’ll be generous and say “overstating the case.” Whenever someone gives you a never in regards to writing, your inner warning klaxon should go off. Writing is an art, and cannot be governed by rules involving always or never.

For example, we italicize words when they are used as words.

Second, you are only partly correct about characters’ memories. The practice you’re thinking of is to put remembered dialogue in italics. But this only applies to dialogue. We use italics instead of quotation marks so the reader won’t mistake it for something being spoken aloud at the moment.

But the rest of the character’s memory does not need to be in italics, because it’s interior monologue. It could be italicized, but it doesn’t have to be.

Fiction Q&A: Using italics for character thoughts

Here’s how I’d set your sample:

He sat in the cold hospital waiting room, feeling numb. This was just like when Mom died. We did all we could, the doctor had said.

So the only italicized words are the ones the doctor spoke.

The difference between memory and flashback

The last point of confusion has to do with defining a flashback. What you have is not a flashback. It’s a character memory. The character is thinking about what happened in the past—that information is his interior monologue.

A flashback is a fully formed scene set in an earlier time. So it should be typeset like any other scene. In fact, in the flashback, you would not set the dialogue in italics. You’d put it in quotation marks, just as in any other scene.

Here are a couple of excerpts from Rescuing Olivia by Julie Compton. At the start of the story, Olivia is comatose after an accident. The story is told in a set of flashbacks alternating with present-day scenes in the hospital. The story is told from the viewpoint of Olivia’s boyfriend, Anders.

The day before had started pretty much like many of the others they’d spent together.… She reached for him, wrapping her arms around his neck and pulling him close. “Let’s go for a ride today. A long ride.” She gave him a peck on the lips. “Take me somewhere I’ve never been.”

The time cue “day before” lets us know when the flashback takes place, and this is emphasized by the use of the past perfect tense (“had started.”) Olivia’s dialogue is in regular quotation marks.

Later, Anders is sitting in the hospital and remembers the conversation.

The doctors and nurses stood in stark contrast to the family and friends of patients, whose hollow eyes and weary efforts to smile at strangers gave them away. They were like the walking dead, and Anders wondered how in the short span of twenty-four hours he’d managed to become one of them.

Take me somewhere I’ve never been. 

The irony of Olivia’s request was that it seemed to Anders she’d been everywhere, and he’d never left Florida.

A flashback, like any other scene, can run as long as necessary to show what’s needed. A character memory should last only a couple of lines, as you have done.

If you find that a character is spending a lot of time thinking or talking about the past, consider whether it’s all really needed to move the story forward. If it is, consider rewriting those parts as flashbacks rather than character thoughts. Because a flashback is—or should be–characters doing things. Which is usually more interesting than characters thinking about things.

I know flashback and memory sound like the same thing, but they’re not. A flashback takes the reader into the story’s past. A memory keeps the reader in the story present, but the viewpoint character is thinking about the past. It’s a subtle distinction, but an important one.

Identifying the Passive Voice

I’ve written before about When Passive Voice is Permissible. Strunk and White admit that “Use the active voice … does not, of course, mean that the writer should entirely discard the passive voice, which is frequently convenient and sometimes necessary.”

active passive voice

Illustration by kikkerdirk • Fotolia


But one of the biggest problems writers face in critique groups is the problem of partners who flag passages as “passive” when they’re really not. Often verbs of being (be, is, was) are flagged as “incorrect” or “passive.” They are not. They are not particularly strong verbs, but they are not passive in and of themselves. Continue reading

The Difference Between Infringement and Plagiarism

I shouldn’t have to say this, but I must.

Don’t steal. Don’t lie.

Writers of all people should know that passing someone else’s words off as your own is Not Done. Yet it happens often, sometimes with spectacularly embarrassing results, even to professionals. Continue reading

Use Story to Make Your Ideas Stick

Folks like Copyblogger who teach copywriting often emphasize the importance of story. That’s because a story gives our hearts and minds something to hold on to. Stories make ideas sticky. But the thing is, the story has to be in your work for the right reasons.

Anecdotes are engaging and relevant.

Like flashbacks in narrative nonfiction, anecdotes used to illuminate informational nonfiction must be engaging. That is, they should have entertainment value as well as informational value. We want interesting stories about fascinating people.

Such stories should also be relevant to the point and not just thrown in because someone told you to “start with a story.” Continue reading

Leverage the Power of Story

In fiction writing, we often say “story is king.” Remember how I define that:

Character + Plot = Story

To make your nonfiction engaging, use stories either on a small scale, like anecdotes, or on a large scale, as in a memoir.

A story may be brief, like Jesus’ parable about the rich man and Lazarus. Continue reading

Q&A: Do you need a blog?

I just returned from teaching at the Speak Up Conference in Grand Rapids. It was a wonderful event, and I hope to be back next year. This conference started as one for speakers, but because speakers often need to write and writers often need to speak, they’ve added a writing track to the conference. I was invited to teach Editing Nonfiction, and I think it went very well. I had some clever and engaged folks there who asked plenty of insightful questions. I’ll continue my series of blog posts based on that class next time.

question answer


Today, I wanted to address a question I was asked by one of the writers who came to see me during a one-on-one appointment, because I hear this one a lot.

Q: Do I need to have both a website and a blog?

A: No.

That sounds like a simple answer, but there’s more to it than that. Continue reading