a note on worldbuilding
It occurs to me that failure to properly worldbuild an SFFnal story is - sometimes, though not always - less reflective of a writer’s creative ability than it is a consequence of their real-world privilege. The concept of culture as something with multiple facets, that can be experienced from different perspectives and which - crucially - has consequences beyond the obvious is learned rather than innate, and if, in your own life, you’ve never stopped to consider (for instance) how class differences impact access to basic necessities, or the problem of social mobility, then that’s going to influence how you craft, or fail to craft, those elements in your narratives. Because while, in stories set in the present day, you can either compensate with research or write wholly within familiar contexts, in an invented setting, it’s going to be harder to hide the gaps in your knowledge.
And so we get stories whose cultures are founded on stereotypes: Noble Elves vs the Barbarian Orcs, an endless parade of faux-medieval Europes, and dystopias built around a single, reductive premise with no effort made to explore its wider consequences. This last seems especially troublesome to me, given that dystopias are, generally speaking, meant to be the sort of stories that understand class and subversion - but when written by someone who’s never considered that their own society operates on more than one level, that nuance may well be lost. The point of worldbuilding is to create new worlds, but they’re always going to be influenced by how we view our own.
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