Personal power and how we confer it is the layer of worldbuilding where writers of science and writers of magic come together.
- Magic and the ability to wield it confers power. Magical creatures, elves, mythical races, mythological gods and demigods – these are some of the many natural and supernatural components of fantasy.
- Science and superior technology also confer power. Science fiction embraces current physics and theoretically possible technology, taking them into the near or distant future.
Speculative fiction is comprised of two overarching genres: science fiction and fantasy. The choice to make the technology of science or the technology of magic the primary source of power in your story determines which side of the coin lands up. The way you choose to go determines the sub-genre.
A novel set firmly in the technology of the past with no magic is not mainstream sci-fi. If it falls in late Victorian or early Edwardian times and uses the technology available in that era in advanced ways, it could be a branch of sci-fi called Steampunk.
If it takes place in an earlier era and contains magic, magical creatures, or advanced technology, it is an Alternate World fantasy (magic) or sci-fi (tech). If it has no magic or advanced technology, it could be a different genre altogether: historical fiction.
Science fiction has strict parameters established by its readers. The wise author will pay attention to those limits if they want their work to resonate with that audience.
I have said this before, but I feel the need to repeat it. Science is not magic, and it should not feel to a reader as if it were. It is logical, rooted in the realm of both factual and theoretical physics.
Authors of sci-fi must do the research and understand the scientific method. This path of testing and evaluation objectively explains nature and the world around us in a reproducible way. The physics of our current technology, everything from toasters and cellphones to microwave ovens and spaceships has been created using scientific discoveries by people who understand the scientific method.
Skepticism and peer review are fundamental parts of the process.
An important thing for authors to understand is who their readers are. Those who read and write hard science fiction are often employed in various fields of science, technology, or education in some capacity.
They know the difference between physics and fantasy.
The same goes for those who read fantasy: they are often employed in fields that require critical thinking.
Often, readers of both genres are avid gamers. Gamers learn to develop skillsets within strict parameters to advance in the game. Thus, logic and limitations define how much enjoyment they get from a gaming or reading experience.
I read a great many books in all genres. If I have one complaint, it is that many authors indulge in mushy science or magic. They make it up as they go, which is what we all do, but they don’t bother to cover their tracks.
When they get to the editing stage, they don’t go back and look for the contradictions in their magic or science, the places where a reader can no longer suspend their disbelief.
Magic is also a science and should be held to the same standard as physics. Having magic conveys power in the same way that having superior technology does.
If magic is a tool that your characters rely on, it must be believable. I write fantasy, so the science of magic is an underlying, invisible layer that is part of my worldbuilding process.
The following is my list of places where the rules of believable magic and technology converge in genre fiction:
- The number of people who can use either magic or technology should be limited.
- The ways that characters can use magic or technology should be limited.
- Characters with those abilities or equipment should be limited to one or two kinds of magic/technology. Only specific mages/technicians can make use of all forms of magic/technology.
- There must be strict, inviolable rules regarding what each kind of magic/technology can do.
- The author must clearly define the conditions under which this magic/technology will work.
- There must be some conditions under which the magic/technology will not work.
- There must be limits to the damage magic/technology can do as a weapon or the healing it can perform.
- The wielder of this magic/technology might pay a physical/emotional price for using it.
- The wielder of this magic/technology should pay a physical/emotional price for abusing it.
- The learning curve for magic should be steep and sometimes lethal.
For the narrative to have a realistic conflict, the enemy must have access to equal or better science/magic.
Often in the case of magic, the protagonist and their enemy are not from the same “school.” When this is the case, the author has two systems and sets of rules to design for that story.
The same goes for technology. One group may have found a way to exploit physics that places the other group at a disadvantage. This disparity is where the tension comes into the story.
We authors must create the rules of magic or the limits of science for both the protagonist and antagonist. We must do it in the first stages of the writing process. If you have been creating your stylesheet, take the time to include a page defining the laws of physics/magic that pertain to your universe.
It will only require fifteen minutes to half an hour to brainstorm and create a system that satisfies the above ten requirements. This way, you will be sure the logic of your magic/technology has no hidden flaws.
When you take the time to research science technologies or create magic systems, you create a hidden framework that will support and advance your plot. Limits force us to be creative, to find alternative ways to resolve problems.
There can be an occasional exception to a rule within either science or magic, but it must be clear to the reader why that exception is acceptable.
There must be an obvious, rational explanation for that exception.
Science or magic is only an underpinning of the plot. They are foundational components of the backstory.
The only time the reader needs to know these systems exist is at the moment it affects the characters and their actions. When Gandalf casts a spell, or Sulu fires his phaser, the reader knows the characters have these abilities/technologies.
The best background information comes out only when that knowledge affects the story. It emerges naturally in actions, conversations, or as visual components of the setting.
By not baldly dropping the history or science/magic on the reader in paragraph form, the knowledge becomes a normal part of the environment rather than an info dump.
The previous posts in this series can be found here:
Designing the Story (includes creating a stylesheet)
This Post: Worldbuilding Part 4: Creating the Visual World
Credits and Attributions:
Wikimedia Commons contributors, “File:David Teniers the Younger – The Alchemist.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:David_Teniers_the_Younger_-_The_Alchemist.jpg&oldid=528972179 (accessed July 18, 2021).
Wikimedia Commons contributors, “File:An Alchemist attributed to Joost van Atteveld Centraal Museum 20801.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:An_Alchemist_attributed_to_Joost_van_Atteveld_Centraal_Museum_20801.jpg&oldid=531124885 (accessed July 18, 2021).
Wikimedia Commons contributors, “File:An alchemist in his laboratory. Oil painting by a follower o Wellcome V0017631.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:An_alchemist_in_his_laboratory._Oil_painting_by_a_follower_o_Wellcome_V0017631.jpg&oldid=303482875 (accessed July 18, 2021).