What Not To Do When Writing A Fantasy Novel

Writing a fantasy novel feels like diving into an ocean of possibilities. The first thing I do is build the world—not just maps and magic systems, but the heartbeat of it. What makes this place alive? Maybe it’s a city where streets twist like snakes, or a forest that whispers secrets. I jot down fragments: a cursed crown, a tavern where time stands still, a rebellion brewing in shadows. The key is to let the world breathe before locking it into rules. Characters come next, but they’re never puppets. I imagine them as people who’ve lived in this world long before I showed up. A thief with a moral compass? A wizard who hates magic? Their flaws are what make them real. I scribble dialogues in random notebooks, testing their voices. Sometimes the plot changes because a character refuses to follow my outline—and that’s when the story starts to sing. The hardest part is balance. Too much lore upfront drowns readers; too little leaves them lost. I trickle details through action—a character sharpening a sword might reveal the metal’s rarity, or a superstition muttered in passing hints at deeper myths. And I always remind myself: even in a world of dragons, emotions are universal. Fear, love, betrayal—they’re the anchors that keep the fantastical grounded.

Writing a fantasy novel is like building a universe from scratch, and I love every bit of the process. The first step is world-building—creating a setting that feels alive and immersive. Whether it’s a sprawling medieval kingdom or a futuristic magical city, the details matter. I spend hours sketching maps, designing cultures, and even inventing languages if needed. Magic systems are another cornerstone; they need rules to feel real, not just convenient plot devices. Characters are the heart of the story. I aim for protagonists with flaws and growth arcs, not just overpowered heroes. Side characters should have their own lives, not just exist to prop up the main plot. Dialogue is tricky—too modern, and it breaks immersion; too archaic, and it feels stiff. I balance it by reading aloud to catch the rhythm. Plotting is where I often struggle. Fantasy novels can easily spiral into tangents, so I outline key beats but leave room for surprises. Themes are the glue—whether it’s about power, love, or sacrifice, they give depth beyond the spectacle. Lastly, I revise ruthlessly. Fantasy demands clarity; if I’m confused, readers will be too.

I’ve always been drawn to fantasy because it lets my imagination run wild. When I started writing my own novel, I began with world-building. Creating a unique setting was crucial—something vivid and immersive, like the magical realms in 'The Name of the Wind' or the intricate politics of 'The Stormlight Archive'. I sketched maps, devised cultures, and even made up languages to make the world feel alive. Then, I focused on the protagonist. A relatable yet flawed character, like Fitz from 'The Farseer Trilogy', adds depth. Plot came last for me. I outlined key events but left room for spontaneity. Writing fantasy is about balancing structure and creativity, letting the story evolve naturally.

I've been crafting fantasy worlds for years, and the biggest question I always ask is: what makes my magic system unique? Too many stories rely on tired tropes like elemental magic or chosen ones. When writing 'The Clockwork Phoenix', I obsessed over creating magic that felt fresh—where spells were powered by memories, making wizards both powerful and tragic figures. You also need to consider how magic affects society. Does it create a rigid class system like in 'Mistborn', or is it a chaotic force that reshapes geography like in 'The Broken Earth' trilogy? Another crucial question is about cultural depth. Fantasy isn’t just about dragons and swords; it’s about making readers believe in your world’s history. I spend weeks developing folklore, dialects, and even culinary traditions. For example, in my current project, I designed a religion where sailors worship constellations that change based on seasons, influencing their navigation rituals. Small details like this make worlds breathe.

As someone who spends hours crafting fantasy worlds, I've fine-tuned Vim to be my ultimate writing companion. The key is setting up a distraction-free environment with a dark theme like 'gruvbox' and a custom font such as 'Fira Code' for readability. I rely heavily on plugins like 'vim-pencil' for distraction-free writing, 'vim-markdown' for organizing notes, and 'vim-obsession' to save my session. For fantasy-specific needs, I use 'vim-dict' to pull up mythological dictionaries and 'vim-lexical' for thesaurus integrations. Mapping shortcuts like ':w' to auto-save every few minutes keeps my flow uninterrupted. A split-screen setup with world-building notes on one side and the manuscript on the other is game-changing. For immersive writing, I tweak the status bar to display word counts per chapter and use 'vim-gutentags' to auto-generate lore references. Custom snippets for common fantasy terms (e.g., ':sword' expands to 'gleaming obsidian blade') save tons of time. The real magic happens when you combine these with a focus mode that mutes notifications and plays ambient soundscapes through terminal integrations.

As someone who has spent countless hours immersed in the worlds of fantasy and romance, I’ve come to admire authors who masterfully blend these genres. One standout is Sarah J. Maas, whose 'A Court of Thorns and Roses' series weaves intricate fantasy worlds with passionate romances that keep readers hooked. Another favorite is Leigh Bardugo, whose 'Shadow and Bone' trilogy combines dark fantasy with compelling love stories. For those who enjoy epic tales, Brandon Sanderson’s 'Mistborn' series offers a unique mix of high-stakes fantasy and subtle romantic undertones. Additionally, Laini Taylor’s 'Daughter of Smoke & Bone' trilogy is a breathtaking fusion of fantasy and romance, with a narrative that feels both otherworldly and deeply human. These authors have a knack for creating characters and worlds that resonate long after the last page is turned.

Writing a fantasy book is like embarking on an epic adventure, and I love every step of the process. The first thing I do is immerse myself in world-building. I sketch out the rules of magic, the history of kingdoms, and the cultures of different races. It’s important to make the world feel alive and consistent. For inspiration, I often revisit classics like 'The Lord of the Rings' or 'The Name of the Wind' to see how masters like Tolkien and Rothfuss weave their worlds. Next, I focus on characters. A great fantasy story needs compelling protagonists and villains. I spend time fleshing out their backstories, motivations, and flaws. For example, a hero might start as a humble farm boy, but their journey should transform them. I also love adding quirky side characters—they bring humor and depth. Plotting comes last. I outline the main conflicts and twists, but leave room for surprises. Writing fantasy is all about balancing imagination with structure.

The author's writing style in this great fantasy novel is like a master painter’s brushstroke—every word adds depth and texture to the world. What stands out is the vivid imagery. The way they describe the sprawling cities, the eerie forests, and the intricate magic systems makes you feel like you’re walking through the pages. It’s not just about the visuals, though. The dialogue is sharp and layered, revealing character motivations and cultural nuances without feeling forced. The pacing is another strength. The story ebbs and flows naturally, with moments of high tension balanced by quieter, introspective scenes that let you catch your breath and connect with the characters on a deeper level. What I love most is how the author weaves themes into the narrative without being preachy. The struggle for power, the cost of loyalty, and the search for identity are all explored through the characters’ journeys, not through heavy-handed exposition. The prose is elegant but accessible, making it easy to get lost in the story while still appreciating the craftsmanship. If you’re into immersive fantasy worlds, I’d recommend 'The Name of the Wind' or 'The Lies of Locke Lamora'—both have a similar knack for blending rich storytelling with compelling characters. For something more recent, 'The Priory of the Orange Tree' is a fantastic choice, with its lush world-building and intricate plotlines.