World-building is an essential part of crafting fantasy, but it’s not just about creating a backdrop for your story—it’s about building a world that feels alive and purposeful. In Grey & White, much of the conflict and intrigue is shaped by the geography and history of three key city-states: Grauberg, Elinton, and Felixandria.
But designing these places wasn’t just about filling in a map or writing a timeline. It was about building a foundation for the story, creating locations that feel distinct and histories that drive the plot forward without overwhelming it. Today, I’ll share insights into how these city-states came to be and the process I used to create their geography, relationships, and shared history.
The Geography of Grauberg, Elinton, and Felixandria
Geography is often the starting point for world-building, and in Grey & White, the geography of the three city-states plays a significant role in shaping their cultures and conflicts. When I began designing these locations, I wanted each one to feel unique—not just visually, but in how it shaped the lives of the people who lived there. My hope was that readers would sense the differences in atmosphere, identity, and history as they journeyed through the world.
Grauberg: This city, nestled in the shadow of a mountain range on a small southern continent, was designed to feel like a place steeped in history and defense. The rugged terrain and natural fortifications made it an ideal location for a fortress, and its stark, grey landscapes reflect the resilience and stoicism of its people. I wanted Grauberg to feel as if it had been carved out of necessity, a place where survival was hard-won and deeply ingrained in its culture.
Elinton: Elinton, also on the southern continent, was built to shine. Perched on a hill and surrounded by lush, fertile valleys, it exudes prosperity and power. Its farmlands produce an abundance of crops, making it the wealthiest of the three city-states. I designed Elinton to feel like a beacon of culture and diplomacy, a city whose beauty is undeniable but whose wealth makes it a target.
Felixandria: Felixandria lies across the narrow sea to the north, on a rocky, windswept coastline. Its terrain is unforgiving, with little fertile land to sustain its population. This scarcity drove Felixandria to seek new opportunities beyond its borders, leading to its conquest of Grauberg and Elinton centuries ago.
Each of these locations was deliberately crafted to feel like more than just a backdrop. Their environments shaped their identities, and those identities shaped their relationships.
A Shared History, Divided by Time
The histories of Grauberg, Elinton, and Felixandria were built using what I think of as “broad but detailed enough.” The idea was to create a history rich enough to draw from while leaving room for flexibility as the story developed. For me, this balance was essential. I didn’t want to spend so much time crafting an intricate history that I never got around to writing the actual story.
While I admire Tolkien’s expansive lore for Middle-earth, I knew I wasn’t going to write anything like The Silmarillion. Tolkien’s approach works beautifully for his world, but I wanted something leaner—history that feels deep and purposeful but doesn’t require hundreds of pages of backstory. My goal was to craft a history that gave the story a sense of weight and realism without overwhelming it.
Over 300 years ago, Felixandria, struggling with limited resources and harsh terrain, set its sights on the fertile lands of the southern continent. The conquest was swift and brutal, uniting Grauberg and Elinton under the banner of the Grey Empire. For a time, the Empire flourished. But when the Emperor built a new capital city devoted to a deity the Grause and Elinians viewed as sacrilegious, rebellion erupted.
Grauberg and Elinton succeeded in driving the Felixandrians back across the narrow sea, reclaiming their independence. However, the scars of that occupation remain. Even centuries later, the people of Grauberg and Elinton regard Felixandria with suspicion and contempt, a resentment that fuels the conflicts of the present.
Current Conflicts and Political Tensions
In the present day, the tension between the city-states is as fraught as ever. When The Rage of a Boy begins, the southern continent is on edge.
Grauberg and Elinton: Though Grauberg and Elinton have long been allies, their relationship is now strained. Elinton was conquered by Jules, the Crown Prince of Felixandria, 15 years ago, leaving Grauberg as the last line of defense on the southern continent. While no move has been made against Grauberg since Elinton’s fall, its people live in constant readiness, anticipating the inevitable. Tristan, an Elinian by birth, now calls Grauberg home and is determined not to see it fall to Felixandria as well.
Felixandria: Felixandria, meanwhile, remains an enigma. The king has neither supported nor condemned his son’s conquests, and the city-state has remained eerily silent in the years since. A fragile truce holds, but its cracks are beginning to show.
These dynamics create opportunities for both large-scale conflicts and deeply personal stakes, but they remain secondary to the character-driven heart of the story.
World-Building Through Characters’ Eyes
One of my goals was to avoid overwhelming readers with lore dumps. Instead, I aimed to reveal the world’s details organically through character interactions. When Tristan navigates the rugged terrain of Grauberg, or Ella reflects on Elinton’s golden structures from a distance, the world-building unfolds naturally, providing context without taking the reader out of the story.
That said, there are moments when exposition is necessary. In hindsight, I wonder if I could have handled some of these moments differently, but that’s part of the writing process—we learn and grow. I’m particularly excited about how the world expands in Book Two and even more so for the surprises I have planned in Book Three. The world of Grey & White may have started simple, but it’s growing in ways I never expected.
Lessons Learned: A Glimpse into My Method
The process of building the world of Grey & White has taught me a lot about what works for me as a writer. While these methods may not suit everyone, they’ve been invaluable in helping me create a setting that feels rich and purposeful. If any of these ideas resonate with you, fantastic—but remember, world-building is a deeply personal process, and there’s no one-size-fits-all approach.
Start with Geography: For me, geography is the foundation. Thinking about how the environment shapes the people who live there helps me craft cultures, economies, and conflicts that feel authentic.
Use Broad but Flexible History: I’ve found that creating a history that’s rich but open-ended allows me to add details naturally as the story develops. This balance keeps me from getting bogged down in lore while leaving room for surprises.
Build with Purpose: For me, world-building always serves the story and its characters. While I love diving into the details, I aim to ensure they enhance the narrative rather than distract from it.
Reveal Through Characters: I focus on showing the world through my characters’ eyes. This approach helps immerse readers without overwhelming them with exposition.
This method has been invaluable for Grey & White, but every writer’s process is different. The key is finding what works for you and embracing the unique way you bring your world to life.
Conclusion: The World of Grey & White
The world of Grey & White is shaped by its geography, history, and the relationships between its city-states. These elements form the backbone of the story, providing a stage for Tristan and the characters who drive the narrative.
World-building isn’t just about maps or timelines—it’s about creating a living, breathing world that feels real and purposeful. I hope these insights have offered some inspiration, whether you’re a writer building your own world or a reader who loves diving into complex settings.
What aspects of world-building draw you in? Are you captivated by sprawling histories, layered conflicts, or the small details that make a world feel alive? Let me know in the comments—I’d love to hear your thoughts!
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