![]() But the world-building aspect need not necessarily be confined to “fantastical elements” in a story.įor instance, earlier this year I read Betty Neels for the first time ever, and it struck me that Neels’s use of certain elements-such as the details of the food, or the specifics of the décor, and the furnishings-is distinctive enough across all her stories to stand out as rudiments central to the Neelsian “world.” The world-building in fantasies is obvious and more often than not consists of building literally a new world for the story to inhabit and exist in. I’ve normally seen the words world-building used in the context of fantasies but I’ve come to think of “world-building” as a tool that every author can wield, to some extent or the other. And I’m not referring to the magical elements in her stories. Reading Mairelon The Magician, the first in the series, I realized that one of the reasons I enjoy Wrede so much is because of her world-building. The books are written in third person and told mostly from Kim’s point of view. ![]() ![]() ![]() The Magician duology features the titular magician, Mairelon, and Kim, a street urchin, and a thief who ends up accompanying Mairelon on his journey at the start of the first book. So recently when I was in the mood for some comfort reading, I decided to hunt down some more of her books. ![]() I thoroughly enjoyed Patricia Wrede’s Sorcery and Cecilia or The Enchanted Chocolate Pot series when I read it a couple of years ago. ![]()
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