Cross-genre Worldbuilding

 Cross-genre books mix elements of two genre. The paranormal romance is really a romance with fantasy or horror worldbuilding.  The sf romance is science fiction worldbuilding in a romance, etc., etc.

I'm a firm believer that you have to understand, read, and respect the genres you are mixing, or you shouldn't write it.

In recent paranormals romances I've read, the author didn't have a clue about fantasy or that you shouldn’t steal a prominent writer’s worldbuilding because it is blatantly obvious and annoying.  One had a magic system that was a generic mishmash as well as a complete HIGHLANDER rip-off with swords, decapitations, and magic being transferred.

Another took the Harry Potter universe with its magic system and world, then tossed in her characters.

I've read futuristics that were really Klingons in love with the alien and STAR TREK names changed, or the science was so bad a third grader could have spotted the errors.

The danger of not understanding one of the genres is writers lose parts of their audience. Cross-genre is not only supposed to mix the two genre, they are supposed to mix the two audiences. Insult half that audience by not knowing your stuff, and there goes sales.

By ignoring the basics of the other genre, these writers are destroying “the dream" of the books, and that bothers me a great deal as a writer and a reader.

Make-a-Monster 101

When you write a story about monsters, legends, and myths, you have to decide whether you’ll use the traditional information or not.

Part of your decision will be determined by the choice of magic or reality.  Are your creatures real in the sense they make scientific sense and follow the rules of the real world, or are they magic based so they can break all the laws of science and the real world?

Another part of your decision is whether you embrace all the “facts” about your creature or not.

Take vampires.  Some of the common folklore traits are

• They are undead humans.
• Bright sunlight kills them.
• A stake made of a specific wood will kill them if it goes through their heart.
• They prey on humans by drinking their blood.
• They have fangs.
• They turn into bats or some other creature.
• Their reflection can’t be seen in a mirror because they have no soul.

In a reality-based story, some of these facts can be worked with.  Vampirism could be a type of blood virus, for example.

Other facts like shape changing won’t work without some serious fudging of science, and the matter of changing mass must be considered.  If a vampire can change into a bat, the bat must weigh the same as the vampire so the bat would need wings as big as a small plane’s to get off the ground.  

And then there are facts that make no sense whatsoever in the real world or a world with magic.  

If a vampire can’t be seen in a mirror because it doesn’t have a soul, does that mean that your clothes, toothbrush, and the wall behind you in the bathroom mirror have souls?  

I don’t think so, either.  

In defense of those who came up with this silly vampire notion, until the last two centuries, most people didn’t have a mirror, and the mirrors that were around were tiny and blurry.  

If you decide to change any of the important facts about your vampire or other creature, you need to give the reader some reason for your decision.  Your vampire can tell his new ladylove that he’s perfectly capable of walking in the sunlight, and the belief that he can’t has been a standard misinformation campaign by vampires for thousands of years so they can walk among humans without discovery and can take prey during the day without the prey being aware of the danger.

Whether you use the traditional traits or not, be sure to think very carefully about them so they make sense within the world you have created for your creatures.

Across a Crowded Room

 QUESTION: I have a scene in a restaurant where staff is coming and going. How do I describe that? Do I mention all the movement?

This is really about viewpoint. You are describing the scene from your viewpoint character's perspective. What will she see?

Imagine this. You are in your favorite romantic restaurant. Across from you is your special someone or your favorite sexy actor. You are eating your meal, flirting, and talking. Would you be aware of who is coming in and out of the room?

Your character in a similar situation would do the same thing.

Imagine this. You are in that restaurant with that sexy lover, but someone wants to kill you.

You would be very aware of who is coming and going in the room, and so would your viewpoint character.

If it's a situation that's emotionally neutral like a banquet meal with servants coming and going to bring food, you can say something like "A steady stream of servants, each with a large tray of food or an empty bowl, moved through the room tending the tables.”

Then, unless there's a reason to mention the servants again, or a servant again, you don't mention them. The reader will fill in the visual blanks.

Description and a Character's Profession

I've written several blogs on how viewpoint affects what you description in a scene. For example, a character who is analytical will view a room differently from a creative person.

The profession of a viewpoint character also affects how you describe what the character sees. In one of my novels, the main character is a landscape artist. I kept a list of paint colors beside me as I wrote her viewpoint because she'd be precise about color variations. She'd see another character's eyes as cerulean blue, not blue. 

If that viewpoint character had been an expert on antiques, the other person's eyes might be the color of Delft blue china. 

Using this kind of description also makes writing love scene description, particularly evoking the intense emotions of sexual pleasure, a bit easier and less cliche-ridden. I've used space imagery for a heroine who was an astrophysicist, shapes and forms for an architect, and colors and textures for that landscape painter. 

An expert will also see something differently than the rest of us. Imagine a mechanic looking at a car engine, now imagine someone who knows nothing about engines looking at it. The terms used to describe the engine in viewpoint will be as precise or imprecise as the character's knowledge.  

Don’t be ridiculously precise, however, by naming too many parts or scientific elements because most readers’ eyes will glaze over.

Always remember that description is as much about the viewpoint character as it is about creating a picture in the reader's head.

Description: From Specific to General

To give the reader the right image of what is happening, you should always be specific.  This is particularly important in the first description of a person, place, or thing.  

Look at the sentences below, and the introduction of the heroine’s dog, Digby.

Eager for their run, Digby whined and tugged on her leash.  

Jane laughed and began to jog down the greenway that ran behind her apartment.  

The dog kept pace until they reached the wooden bridge across the creek, then the golden retriever jerked to a halt and growled.  

Sentence one is fine.  “Whined” and “leash” tell the reader that Digby is a dog; however, the reader has no sense of what the dog looks like.  It could be a poodle or a Great Dane.

Sentence two is okay if bland.

Sentence three, however, starts with the general term “dog” which still doesn’t give the reader a clue about the dog.  Not until the end of this sentence does the reader learn that the dog is a golden retriever.  By this time, the specific jars the reader who may have already visualized the dog or has decided the dog isn’t important because of the vague description.

How could these sentence be improved?

Eager for their run, Jane’s golden retriever Digby whined and tugged on her leash.

She laughed and began to jog down the greenway that ran behind her apartment.  

The dog kept pace until they reached the wooden bridge across the creek then jerked to a halt and growled.  

The reader instantly knows Jane’s dog is a golden retriever so the writer can now use more general terms like dog. 

Just a few words used at the right time makes a difference between pulling the reader into your story or throwing them out.  

What Do You Describe?

How do you decide what to include in your description of a scene?

Remember that you're in a character's viewpoint. Ask yourself what is important to that character. 

A cop entering a room where a gunman may be hidden is seeing different things than an interior designer who enters a room a rival has just decorated. The cop doesn't give a damn about the charming shade of blue in the wallpaper, but he'll notice the large pieces of furniture someone could be behind, the amount of light and shade in the room that makes seeing movement tricky, and the possible exits.

At the same time, the character will be aware of the sounds and smells in the room-- the faint smell of gun oil, the Chanel No. 5 of the wealthy woman who owns the home, the tap of the nails as a toy poodle moves across the oak floor, and the slight rustle of something moving behind a curtain. 

With just the right specific touches, the room will come alive for the reader and at the same time you're building tension and giving character details, and you're not stopping the action with too much description.

Using Dialogue to Explain Worldbuilding

 QUESTION:  How do I use dialogue to explain worldbuilding?

If you want to use dialogue, you can sprinkle the information through a series of scenes so the reader gradually gets the information.

The method most writers use is what I call "inform the outsider.”  The outsider can be a newly turned vampire, the human love interest or ally, etc., and one of the vampires tells him/her about their history. 

Or one character can disagree with another one's version of the story so they argue about it while informing the reader. 

Another excellent trick is to give the information emotional value to the character receiving it.  If the info matters to that character, it should matter to the reader.  

Or you could have one of the characters find a written history or story that's inserted into the story via dialogue.  That's the most awkward method.  

Or you can sprinkle in tiny bits of information in relation to what the characters are talking about so that the reader can add together the information to get the bigger picture.  Having the reader figure it out himself is far more enjoyable to him than having an info dump.  

One thing you need to consider is how important that element of worldbuilding is to the reader.  You may have a clever new form of vampire, but unless the reader absolutely must know how that came about or the story won't make sense, the reader needn't be told all that information.