(reblogged from MightyThorJrs)
As part of my Guest blog series for authors and fellow bloggers I am proud to present another guest blog spot. I am very excited andauthor of The Summerlark Elf, The Missing Thane’s War, and now The Council of Tymenthia (The Four Kingdoms Saga Book 3)
So go grab a copy!
“Worldbuilding the Uncanny Valley: Walking the Line Between Real and Fantasy”
By Brandon Draga
Earlier today, a fellow writer friend tweeted out some inadvertent advice, stating that whenever he’s in a writing rut he has a propensity for delving into some research on his writing subject, claiming that this helps to reignite his inspirational flame. Now, while I’m a firm believer that writing techniques and rituals can be as diverse as the writers to whom they belong, I absolutely agree with my friend on this point, at least personally. In fact, over the course of writing The Council of Tymenthia I underwent several day-long research sabbaticals, looking up everything from weaponry to period-correct military slang.
Also language. I had a lot of fun researching languages.
During one such research day (read: six hour YouTube binge session), I found myself descending into the rabbit hole that is the evolution of the English language. It turns out that, in and around what would have been the Arthurian period, English sounded a whole heck of a lot like Icelandic; barely recognizable. Neat, huh?
Kinda makes you think, though, about all those portal fantasy/time travel movies and books where modern-era characters are transported back to the dark ages. I mean, aside from likely being immediately cut down by some poor dirt farmer who thought them a demon, someone speaking modern English would sound to said dirt farmer like they were speaking in tongues!
These are the things that keep me up at night, everyone.
The fact also happens to lend itself to the question of dialogue in fantasy fiction, and from there into the greater question of fantasy worldbuilding. This, in turn, leads us to right now, this blog post that you’re reading.
So it feels a lot to me like the fantasy genre as well as its readers have really reached a level of maturity where, above all else, a story’s believability must be watertight. People are simply not willing to suspend their disbelief the way they once did, or at least not in as great numbers.This can lead fantasy writers into one of two different camps of realism, and I thought it might be fun to take a look at them.