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Writing a historical novel means knowing how far they can travel on a horse, This is good info right here.
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Invented Languages: Klingon and Beyond “I wanted to start teaching this course because I wanted a way to engage students in linguistics without having to
Check it out! I’m on New Hampshire Public Radio talking about my class, “Invented Languages: Klingon & Beyond!”, which uses conlangs as a tool for teaching linguistics. It’s awesome!
New vlog out! Up your nerd level and learn how to create your own language!
If you like this vid, please reblog! If you want me to make more vids on language construction, let me know in a comment! ^_^
Magic versus Technology and how the existence of magic would affect technological progress in a world that magic exists
This is quite relevant to my interests.
Whether you are writing a futuristic dystopia or a cloud city of dragons, you need to figure out how people get basic supplies. These are often the most overlooked worldbuilding questions since it’s…

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by Brandon Sanderson
We’re celebrating the release of Steelheart, my new novel! It’s out this week. If you missed yesterday’s post, you can read up on the book here, listen to the first five chapters of the audiobook here, and watch the trailer here.
Please consider going to your retailer of choice and looking at the novel. I’m extremely proud of it. Also, play along in the Steelhunt!
As part of the celebration, I present to you Sanderson’s Third Law.
Introduction
At long last, it’s time for me to continue my series on how I develop magic systems for my books. If you haven’t read the first two pieces in this sequence, check out Sanderson’s First Law and Sanderson’s Second Law.
When I speak about these laws, I often make some wisecrack about how humble I am. (I named them all after myself, you see.) However, the reason I named them as I did is not because I view them as rules that everyone must follow in developing their magic systems. Instead, these are observations about what have made my own magic systems better—in the way I like to design them. Therefore, they are laws that I try to follow in my writing.
At times, I’ve broken these laws—indeed, I’ve figured them out over time by noticing places in my fiction where the magic system doesn’t work as well as I’d like. You could say breaking the laws is what taught me about them in the first place.
Remember that in writing, nothing is absolute. I don’t read a book and think to myself, “I wonder how well this magic system follows Sanderson’s Laws!” When I read, I’m there to enjoy the story. However, when I analyze why something works or doesn’t work—particularly in a book I’m working on—often these concepts will come into play. Anyway, without further rambling, the third law is as follows: Expand what you already have before you add something new.
Explanation
There are a lot of potential worldbuilding pitfalls a fantasy and science fiction writer can stumble into. One of these is making your story boring by overburdening it with too much expository worldbuilding. This, in turn, is often a symptom of a writer who spent years and years practicing worldbuilding—but not much practicing the actual craft of writing.
Because of this, I sometimes warn about what we call “worldbuilder’s disease,” which is a little like warning a bodybuilder friend not to skip leg day. Practicing worldbuilding is important, but to have a well-balanced story, a potential writer will also need to practice prose, characterization, and plotting. You’re not a pianist if you only learn to play one song, even if you can play it really well—instead, you’re a party trick.
(Now, I’ll add the caveat that worldbuilder’s disease is only a problem for writers who want to make a professional living writing books. If your goal is to have fun worldbuilding, and the writing of a book is something secondary to that, then there’s nothing at all wrong with focusing your time on your setting. Do what you enjoy.)
Anyway, because I talk a lot about the dangers of over-worldbuilding, you might think that I’m against it entirely. Not at all—I like stories with massive worldbuilding, intricate worlds, and clever use of magic.
That’s where this law comes in.
Often, the best storytelling happens when a thoughtful writer changes one or two things about what we know, then extrapolates purposefully through all of the ramifications of that change. A brilliant magic system for a book is less often one with a thousand different powers and abilities—and is more often a magic system with relatively few powers that the author has considered in depth.
This is something I’ve come to realize over a long time. I often fall into the trap of thinking that “Bigger is better, and more is more awesome.” Films have this trouble all the time. How often has a sequel been ruined by this mentality? (An example comes from the Spiderman franchise of last decade, where the third film was widely panned for trying to cram too many villains into the space—when one very dangerous and compelling villain often makes a better story.)
In epic fantasy books, it’s not the number of powers that creates immersive and memorable worldbuilding—it’s not even the powers themselves. It’s how well they are ingrained into the society, culture, ecology, economics, and everyday lives of the people in the stories.
In short, this law challenges me to create deep worldbuilding instead of just wide worldbuilding.
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Love this. #words #OE #English #linguistics
No, you don’t understand. This is an actual thing though.
"deerlore" for zoology and "toothhealer" for "dentist"…
**rubs hands** WORLD BUILDING RESOURCES!!!!
"Lorewarden" for Librarian.
Military superpowers throughout history by JaySimons
Common Medieval Clothing Colors
This is meant as an information resource for creative folk, not a complete guide. Be sure to supplement this with additional research. Find the rest of the series, including the previous posts on clergy, nobility, common medieval jobs, divination, spirit animals, mythical creatures, structuring an army, medieval punishments, armor, pre-gunpowder weapons, siege warfare, castle anatomy, and common terms of medieval life.
Black: First associated with the Vikings, black was worn by all and eventually became the color worn by mourners, the elderly, and scholars.
Blue: Light blue was worn by all, but dark blue was worn by higher-ranking nobles and royalty until it became associated with scholars and apprentices.
Crimson: A bright red worn by the wealthy.
Flame: A bright red-orange reserved for the wealthy.
Gold Cloth: Reserved for royalty.
Green: All shades; worn by all.
Murrey: Deep purple-red. Worn by the rich.
Parti-colored: Clothes that were often made up of several different colors like a Harlequin doll.
Purple: Reserved for royalty and very high-ranking nobility.
Red: Worn by all.
Red-browns: Extremely popular and worn by all.
Scarlet: A vibrant shade first reserved for royalty and then worn only be nobility.
Silver Cloth: Reserved for royalty.
Siskin: Light greenish-yellow worn by the wealthy.
Slate: A gray blue. Worn by all.
Tan: A light brown worn by the nobility.
Tartan: A plaid pattern of Scottish origin, the unique colors and pattern of which denote the wearer’s clan or family.
Tawny: A brownish-yellow color that was popular. Worn by all.
Watchet: A light greenish-blue worn by all.
White: Worn by all, but preferred by the nobility and royalty.
Yellow: Worn by all.
Branch #1: Late Xëskran
Time: 140,000 - 10,000 years ago Location: Grass plains of the western half of the supercontinent History: The first branch we're going to examine is actually the continuation of the original pre-exodus human culture. These descendants of the first humans remained in the central plains, though spreading out through that area as the era progressed. The other human groups departed during this time, populating the rest of the world. The reason for these migrations are varied, from aggression and hostility between groups to overcrowding. And of course for every successful splinter group there were hundreds of failed migrations. Another important shift during this period was the expulsion of the other hominid species from the area. During 80-75,000 years ago, a slow-burning "war" occurred between Homo sapiens and the other competing hominids in the central plains, leaving the humans in sole possession of the area. Society: One hundred thirty thousand years is a long time. Still, the basic form of the Xëskran hunter-gatherer culture remained virtually the same for much of that period. Even when permanent settlements, agriculture and animal husbandry began to appear in the later half of the period, the majority of the Xëskrans appear to have preferred the nomadic lifestyle. The social order remained largely devoid of hierarchy or formal organization. The role of the sorcerer-priest began to gain prominence, but would have been seen in the context of its role in the community, just as a particularly strong or clever hunter would have been, or a particularly nurturing parent.
Mythology and Religion: The original pseudo-religious reverence given to natural forces and animals in the pre-Exodus age now gave way to a universal animism (by around 40,000ya). Certain proto-shamanistic tendencies began to appear by around 20,000, possibly imported from outside cultures. Early sorcery and language were both highly tied to the mythic impulse (see below).
Language: Though relatively well preserved over the course of the early Exodus period, like any language Xëskran was altered by the passage of time. Part of this evolution was spurred by the persistence of language as a force of sorcery. Though by this time, the communicative power of language had spread into mundane areas of the culture, it was still associated with both magic and with myth. In form, the language mostly retained its overall syntactical structure.
Magic: Late Xëskran sorcery was focused on appeasing and manipulating the animistic forces of the natural world, interwoven heavily with the proto-shamanistic religious forms of the day. In this form, every physical object, whether animate or inanimate, was treated as though having a lifesource "behind" or "inside" of it. As such, all objects could be interacted with, in a sort of symbolic version of the way one would deal with a fellow human (or animal). This type of personification was far more effective and sophisticated than the preceding method of sorcery, which could be as crude as simply stating the desired effect using words.
Industry and Technology: Xëskran innovations of this period included the development of needles and sewing c. 35,000Ya and the use of fibers for bags, child carriers, and nets a few thousand years thereafter (c. 30,000Ya). Another major Xëskran development was the domestication of the horse (c. 20,000Ya).

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[Wikipedia] Hypotheses about prehistoric sympathetic magic
The term [sympathetic magic] is most commonly used in archaeology in relation to Paleolithic cave paintings such as those in North Africa and at Lascaux in France. The theory is one of prehistoric human behavior, and is based on studies of more modern hunter-gatherer societies. The idea is that the paintings were made by Cro-Magnon shamans. The shamans would retreat into the darkness of the caves, enter into a trance state and then paint images of their visions, perhaps with some notion of drawing power out of the cave walls themselves.[citation needed] This goes some way towards explaining the remoteness of some of the paintings (which often occur in deep or small caves) and the variety of subject matter (from prey animals to predators and human hand-prints). In his book Primitive Mythology, Joseph Campbell stated that the paintings "...were associated with the magic of the hunt." For him, this sympathetic magic was akin to a participation mystique, where the paintings, drawn in a sanctuary of "timeless principle", were acted upon by rite. In 1933, Leo Frobenius, discussing cave paintings in North Africa, pointed out that many of the paintings did not seem to be mere depictions of animals and people. To him, it seemed as if they were acting out a hunt before it began, perhaps as a consecration of the animal to be killed. In this way, the pictures served to secure a successful hunt. While others interpreted the cave images as depictions of hunting accidents or of ceremonies, Frobenius believed it was much more likely that "...what was undertaken [in the paintings] was a consecration of the animal effected not through any real confrontation of man and beast but by a depiction of a concept of the mind." However, as with all prehistory, it is impossible to be certain due to the relative lack of material evidence and the many pitfalls associated with trying to understand the prehistoric mindset with a modern mind.
https://imgur.com/TgprGAW
Evolutionary tree of all Religion
Relevant for any neo pagans, shamans, or other spirit workers out there.
Arolian Fauna, Part One: Contemporary Earth Animals
(These lists aren't complete, of course, but they do give some examples to sift through should the need arise.)
Contemporary Archetypal Animals List
Birds: Chicken, Crane/Stork, Crow/Raven, Dove/Pigeon, Duck, Eagle, Flamingo, Goose, Magpie, Owl, Ostrich, Parrot, Peacock, Penguin, Robin, Sparrow, Swan, Vulture, Woodpecker
Reptiles: Alligator/Crocodile, Chameleon, Lizard, Snake, Turtle
Mammals: Antelope, Ape/Monkey/Gorilla, Badger/Wolverine, Bat, Bear, Beaver, Cat, Cattle, Deer, Dog, Elephant, Ferret/Mongoose/Weasel, Fox/Coyote, Giraffe, Goat, Hedgehog/Armadillo, Hippo/Rhino, Horse/Donkey, Jackal/Dingo/Hyena, Jaguar, Kangaroo, Koala, Lion, Panda, Panther/Cougar, Pigs, Platypus, Rabbit, Racoon, Seal, Sheep, Skunk, Squirrel, Tiger, Otter, Walrus, Whale, Wolf, Zebra
Amphibians: Frog/Toad, Salamander
Fish: Chilean Sea Bass, Flounder, Piranha, Salmon/Trout, Shark, Sunfish,
Invertebrates: Bee/Wasp, Beetle, Butterfly/Moth, Crab/Lobster, Cricket/Grasshopper, Centipede/Milipede, Dragonfly, Fly, Jellyfish, Ladybug, Mantis, Octopus, Seahorse, Snail/Slug, Spider/Scorpion, Starfish, Termite Contemporary Unique or Odd Animals List
Birds: Cassowary, Dodo, Flycatcher, Frigate Bird, Hoatzin, Hummingbird, Kiwi, Pelican, Shoebill
Reptiles: Alligator Snapping Turtle, Cobra, Constrictor, Iguana, Frill-Necked Lizard, Mata Mata Turtle, Thorny Dragon
Mammals: Camel/Llama, Fruit Bat, Giant Anteater, Lemur, Mara, Manatee, Mole, Naked Mole Rat, Narwhal, Ocelot, Okapi, Pangolin, Red Panda, Saiga Antelope, Sugar Glider/Flying Squirrel, Tapir, Vampire Bat, Wombat
Amphibians: Axolotl, Horned Frog, Poison Tree Frog,
Fish: Anglerfish, Frilled Shark, Goblin Shark, Lamprey, Oarfish
Invertebrates: Antlion (larval stage), Blue Dragon, Camel Spider, Cockroach, Earwig, Giant Isopod, House Centipede, Mantis Shrimp, Nudibranch, Scorpionfly, Sea Pig, Spider Crab, Shrimp, Tarantula, Ticks/Fleas/Mites, Tongue Eating Louse, Treehopper, Weta,
So, this is a spreadsheet I cooked up showing the relative times (in thousands of years before the present) that each of the seven focus cultures assimilated various technologies. "Inherited" simply means that the ancestors of that particular culture had already acquired the technology and brought it with them when they migrated to the culture's geographic area.
Anyone have any information or resources on how quickly ancient/prehistoric technology might have spread to other parts of the world?
Curious minds would like to know
So! After some googling, I came across this page, which charts the dissemination of the Neolithic, Bronze, and Iron ages with handy maps. Basically, the Neolithic took about 5000 years to spread from the Middle East to India and the middle of Europe; the Bronze Age took about 1000 years to spread from the Middle East to the ends of Europe and Asia, and the Iron Age took about 500 years to do the same (and about 1000 years to reach the southern end of Africa). Obviously the rate is slow as well as variable for individual technologies (and, as the page itself states, it’s likely that many of the technologies were developed in several places independently), but that’s as good start I suppose.

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[Arol] Creatures of Arol Overview
The animal life of Arol is intended to be fairly naturalistic (taking into account the slightly different natural laws that exist there). This will of course affect the sorts of made-up creatures that will fit into the Arolian milieu, as some far-out or extravagant fantasy creatures simply won't fit in (at least not without some heavy explanation). Chimerical animals, which directly combine features from more than one type of Earth animal, are particularly suspect in the light of naturalism: i.e., owlbears are out. (I know, I know. "Wizards did it." I highly doubt we're going to see that level of high magic in Arol.)
As I see it, there are six categories of animals from which we'll draw the fauna of Arol:
Contemporary Earth animals
Extinct Earth animals
Variations and riffs on Earth animals
Naturalistic legendary animals
Legendary animals that require modification
Newly created animals
1. Contemporary Earth animals These include all the animals that exist on both our own present Earth and on Arol. These will be either iconic or archetypal "staples" (the wolf, the spider, the horse), or slightly bizarre and underappreciated (the tapir, the ocelot, the ).
2. Extinct Earth animals This will include any animals that once existed on Earth that no longer do, but that might be good fits for Arol. Unlike the above category, these should not be animals that are overly familiar or archetypal. Dinosaurs, woolly mammoths, and sabertoothed cats are therefore out, while other Pleistocene examples, might be in, as well as therapsids and synapsids (excluding Dimetrodon), and Cambrian or even Precambrian monstrosities are totally ripe for the picking.
3. Variations and Riffs on Earth animals This is the category for animals that are found on Earth that we decide to tweak a bit, or to add new breeds or variations. Examples might be something like a Spined or Quilled Fox, or a Giant Tardigrade. 4. Naturalistic Legendary animals Includes creatures that on Earth are legendary or fictional but that seem able to fit into a natural evolutionary system. Preference should be given to slightly lesser known examples; so, for example, even though at its most basic form the unicorn seems like a believable enough animal, it's probably a little too overused.
5. Legendary animals that require modification Creatures that otherwise wouldn't fit the naturalistic aesthetic, changed to make them fit. For example, Pegasus is a horse with the wings of a bird. That won't fit, obviously. However, if the basic form only superficially resembled a horse (e.g. in the way that a koala only superficially resembles a bear), and the wings were more mammalian than avian, and the skeletal structure and size was such that it could actually physically manage to fly (however briefly)...then we might talk. This is likely to be a very, very small category, because if you have to change the creature that much to fit it in the aesthetic, the iconic name attached quickly ceases to work. (Pegasus, by the way, is probably not going to make the cut.)
6. Newly Created Animals This is the category for animals that we straight-up create for the purpose of the setting. They may resemble certain Earth animals, but they are new and we created them from scratch. Obviously, they should fit within the established ecosystem and be believable additions to the milieu.
There were, of course, an incredible variety of early cultures among the migrating groups of Arolian humans during the time of the Exodus. We're going to focus on seven very general groups of these cultures. The above two charts show both the physical location of these groups, and also their position on the timeline and their connection relative to each other. Linguistically, the time periods involved here make it impractical to note every sound change the various languages undergo: Proto Arolian (or, more properly, "Xëskran") alone would undergo somewhere near 20,000 changes in that time (determined as per my previous post); add in the seven branches and some of the intermediate stages, and that would take years for your humble blogger to chart out. (Although perhaps I could write a bit of Python to do it for me?) In the real world, our reconstructed PIE (Proto-Indo-European) language is thought to have been spoken around 3500, and the time between then and now is about, what, half of *one* of the above ticks on the timeline. After 140,000 years, it seems unlikely there would be enough resemblance between Xëskran and any of the branch languages to make it worth charting the path from point A to point B.
However, it is just possible that in certain of the languages traits might have been passed along the line unblemished, or certain words retain their very basic form. (For example, that documentary I linked to a while back, The Incredible Human Journey, mentions the theory that the "click" sounds in certain African languages (found nowhere else) may be derived from the earliest Earth languages).
With this in mind, one of the starting points for at least a few of the languages of the cultures we'll be examining will be the question "What has this language preserved from the original Xëskran?" Other considerations will include the climate, environment, way of life and living conditions of the members of the culture, as well as the influences from other cultures (and potentially the influence of other language-speaking hominids and other beings of Arol).