If you’re at all interested in serious, progressive sff, then you will probably have heard a lot about The Mirror Empire by Kameron Hurley lately; it’s the kind of convention-defying, mind-opening fantasy that all fans should be reading. Kameron won double Hugos this year, and I don’t doubt that The Mirror Empire will get her nominated for several awards again next year. She’s currently on one of her incredibly prolific blog tours following the launch of her novel from Angry Robot, and has been kind enough to make another stop at Violin in a Void. Welcome back Kameron!
____________________
The best writing advice I ever got was to read outside the science fiction and fantasy genre and travel. There’s nothing like getting out of your everyday surroundings and plopping yourself into someplace difference to see just how much cultural baggage you’re carrying around. Here are the top five things I learned about how to build better fantastic worlds – simply by traveling around more in this one.
- Knowing a thing and experiencing a thing are different, and you’ll have a whole new view of the world when you experience all those things you think you know. There were all sorts of things I knew, intellectually, about race and poverty and sexism and my place in the world. But getting out into the world and seeing those things in action changed the way I felt about them. It’s all very well to say one understands poverty and chronic illness, too, but until I had experience with those things in my personal life, they were still just concepts, like watching something that happened to someone else on TV. Traveling gave me a chance to see and experience different ways of living. Some good, some bad, all very different from mine. When it comes to building fictional worlds, it’s easier to build believable ones when you’ve had some inkling of wider experience beyond what’s in a book.
- People are much better than we think. Our obsession with the evil of the world, with mass murder and serial killers and genocide, often gives a lopsided view of the world. If all we see presented are people being awful to each other, we’ll start to think that’s all people ever are. But the reality is that even the places that I went where not everyone was fabulous, the majority of people still were. Often in the most surprising places. Your world may be the grimmest of the grimmest darkiest dark, but without a ray of hope, without kindness, without a measure of good, none of us would survive very long. I discovered that adding hope and humor to my stories went a long way to making them more livable, and, frankly, more realistic.
- Caution is fine, but saying “yes” will lead to far more opportunities. I got a lot of well-meaning folks cautioning me a lot when I did most of my traveling, alone, in my 20’s. Everyone sees a young woman traveling alone, and the only time we ever see that portrayed in the media is usually when some young woman goes missing. These things happen, yes, and it’s a real concern. But the truth is that these sorts of stories and cautions also work to hold women back from fully experiencing life in a way that men are not. I recognized early that traveling would come with risk, but so would sitting still. This experience, being a young woman traveling alone, led me to ask how dangerous the world was – or was perceived to be – for folks in my fantastic worlds, too. It turns out that building an escapist and fantastic world, for me, could be doing something as revolutionary as building a world where it was possible for a young woman to travel alone unquestioned. Madness!
- Language is awesome, and you should learn to speak as many of them as you can. I spent some time traveling through Switzerland, taking a train ride across this country where one minute everyone is speaking French, and the next… German. In Durban, South Africa, I could hear three or four different languages and six different accents every single day, easily. Growing up in northwestern U.S., I led a pretty insulated life. The only other language I ever heard until my teens was French, and only because my grandmother and aunts spoke it. Once I had to start navigating the world outside my little slice of it, I wished I’d learned more of it, and two or three more languages besides. Language is rich, fun, complex – and adding this to your worldbuilding, instead of relying on a “common tongue” or monolithic language or magic translator, can add an incredible amount of depth to your work.
- We’re all more alike than we are different. I talk a lot about difference in my work, and how we don’t show the full measure of diversity in the world – let alone diversity of the imagination, of what could be – in our fiction. But what interests me most is what stays the same when we change everything else, from what we eat to how we organize ourselves. When we pull everything else away, it turns out we all want to feel loved, to love, to feel that our lives matter. How we express that differs, but what makes us human across time, across cultures, is just as interesting as what makes us uniquely ourselves. And it’s that part of our humanity, our capacity for love, for kindness, for empathy, that I never want to forget in my fiction, either.
About the Author
Kameron Hurley is the author of The Mirror Empire, as well as the award-winning God’s War Trilogy, comprising the books God’s War, Infidel, and Rapture. She has won the Hugo Award, Kitschie Award, and Sydney J. Bounds Award for Best Newcomer. Hurley has also been a finalist for the Arthur C. Clarke Award, Nebula Award, the Locus Award, BFS Award, and the BSFA Award for Best Novel. Her short fiction has appeared in Lightspeed Magazine, Year’s Best SF, Escape Pod, The Lowest Heaven, and the upcoming Mammoth Book of SF Stories by Women.
Violin in a Void 