The phenomenon of excessive planning. It's where writers dedicate years to elaborate world development instead of actual writing, is termed "worldbuilder's disease". This is a phrase coined by fantasy genre icon Brandon Sanderson, whose writing advice is certainly worth following. This tendency can impede progress. The sheer volume of accumulated detail becomes paralysing.
Sanderson's core principle is that worldbuilding should serve the narrative. It should not obstruct it. To achieve a balance, he advocates for selecting key world elements. Use these for in-depth development. This avoids attempting exhaustive detail across all aspects.
What is Worldbuilder’s Disease?
Worldbuilder's Disease, as defined by Brandon Sanderson, is a state of creative paralysis. It is caused by excessive and often unnecessary worldbuilding. It's the point where the act of crafting the fictional world becomes an end in itself. It should actually be a means to telling a story.
This affliction manifests as a writer spending inordinate amounts of time detailing every conceivable aspect of their fictional setting. From intricate political systems and detailed histories to elaborate languages and complex magic systems, it goes on and on. And often at the expense of actually writing the narrative.
Sanderson articulates the core issue:
"Worldbuilding should be strategic. Writers should focus on areas they are passionate about and that directly impact the characters and plot. Overdeveloping elements that don’t serve the story can lead to worldbuilder’s disease, which can delay writing progress indefinitely. In other words, it’s one of the worst cases of writer’s block. So, you’ll want to avoid it at all costs! But how?!"
The root of the problem lies in the allure of creation. The writer becomes so engrossed in the potential of their world that they lose sight of the story they intended to tell. This can stem from a desire for perfection. It could also be a fear of starting. Or simply the sheer enjoyment of the worldbuilding process itself. However, the result is the same. The story remains untold. It's trapped in the ever-expanding confines of the meticulously crafted world.
Essentially, Worldbuilder's Disease is a form of procrastination. It's sneaky because it's disguised as productivity. It's a way for writers to feel like they're making progress. Even when they're avoiding the actual, often challenging, work of writing the story. It is a siren song. It lures the writer into a labyrinth of their own creation.
The Iceberg Technique
The Iceberg Technique provides a practical framework. This approach suggests that the majority of world details remain implicit. Only essential, story-relevant elements are explicitly presented in the narrative. Readers should perceive the world's breadth and complexity. The key is that it should not require exhaustive detail. This can come across as lore dumping.
This pitfall is not exclusive to fantasy writers. Authors across genres can fall victim to excessive pre-planning.
Consider a mystery writer describing a historical manor. The impulse is to meticulously detail the manor's architecture. Beyond physical setting, it's also character backstories, and historical context. This can delay or prevent the actual writing process. Extensive research into forensic science or historical poisons are potentially enriching. However, they can become a distraction.
An alternative approach would be to begin with the core mystery. The manor's essential locations and character interactions can be developed as the story progresses. This allows worldbuilding to enhance the narrative without overwhelming it.
The principle remains. Detailed worldbuilding should not supersede the act of writing. The Iceberg Technique encourages a focus on essential elements. It allows the narrative to unfold without being impeded by excessive pre-planning. This approach is applicable to all genres. It ensures that the story remains the central focus.
Other strategies to consider
On the topic of worldbuilding, it’s important to acknowledge other aspects of creating your world. One strategy is to make characters the centre of your narrative. Build your world around them. Create systems that reflect them. This, incidentally, is something Brandon Sanderson is very good at.
World details should arise organically from character needs and actions. A character's profession might dictate the need for a specific tool or location. This then necessitates worldbuilding.
To feel less overwhelmed, you could also participate in collaborative worldbuilding. For example, you could experiment with how Dungeons & Dragons can make you a better writer.
You may also be part of a writing group. If the lore of your setting is giving you a creative block about your plot, you can bounce ideas around with other writers. Ultimately, the goal is to maintain a balance between creative exploration and narrative momentum. This ensures that worldbuilding remains a tool, not a barrier, to effective storytelling.
