Annabelle cringed when I asked her to do this interview, thinking that she didn’t have a worldbuilding bone in her body. Through the exercise, I do believe she learned that worldbuilding belongs in just about every genre. She has built a wonderful world that follows the wealthy Carrows family. There are places, clothing, gadgets, jewelry, and much, much more that is unique to the world she has built. I hope you enjoy this look into how worldbuilding plays in a genre other than fantasy and sci-fi.
How do you make the Carrows’s world logical? What details do I use so the reader believes it?
Lots of research. While I myself am not a billionaire, (official disclaimer, most likely not necessary), I do not think it would be a stretch to assume the Carrows would own some pretty valuable stuff. Art, specifically, is something I’ve used throughout the series to set a scene. The Carrows, not only at Whispering Cliffs – their ancestral home, but in other homes, have art on the walls, on their ceilings, and hanging from their wrists. Valuable paintings which are real in the world, are plucked from museums or palaces and are hanging on their walls. Inspiration from paintings often set the scene around which I create a room. The atrium ceiling at Whispering Cliffs, the signature chandeliers in all the Carrows homes and hotels are fantasies, but many are, and could be real if you could afford it. Clothes, jewelry, planes, cars, the usual trappings lend to the fantasy.
What is your favorite “What if..” that you have written a story based upon?
What if Trump were stopped by a mob boss before he left New York City. Sorry if that’s too political. Wait, no, I’m not sorry. Read Dr. Hyde, Book 6 of the Carrows Family Chronicles.
What is your favorite “What if…” that you have NOT written a story about?
I don’t know yet. I’ve thought about world problems and corrupt politicians, but primarily I enjoy keeping the focus small. I like the idea of the Carrows coming into a small, one horse town, and getting rid of the corrupt sheriff. The juxtaposition of them coming in contact with everyday man and world is enticing.
What specific details do you include in your world to make it come to life for the reader?
I try to move the characters through what we can all relate to in our day – food, relaxation, watching Rudolf or the Red Sox on the telly, that sort of thing.
Pick a story and share some the details – 3-5 would be great.
As I said, I try to keep the Carrows as grounded as I can with relatable moments.
- The patriarch’s diet and penchant for high caloric food, his wife unhappy about his habits, but too soft-hearted to truly scold.
- The villain daydreaming about how great his evil plans are going while driving, banging out to “Slow Ride” from Foghat.
- A young child pushing herself around in a circle off the walls of the bathtub filled with bubbles and splashing on the floor.
How do you use your characters’ perceptions to further paint the picture in your story?
They are constantly observing. Strategizing. They share these perceptions with one another in order to make decisions.
Regarding time frames, what is your favorite era to work with and why.
My work is contemporary fiction. I’ve placed them in the “now.” As you stated, this definitely has its drawbacks. Even before the work can be published, advancements and the use of technology vex me and my characters. I definitely worry about this, but hope the work will still be current and enjoyable enough to accept.
Real locations. How do you create a sense of location for the reader if they have never visited the location?
I google earth quite a bit. Amazing technology. I can literally walk down a street in small town in the middle nowhere and get a sense of what it looks like. Hopefully, I effectively use that research to impart the look on the page.
Do you believe this statement to be accurate: “The world serves the Story, The Story Does not Serve the World”? Why or why not?
Absolutely. For my work, the saga and growth of the family is central. That they happen to be billionaires, living in wonderful homes with a kick-ass wardrobe are somewhat secondary.
Small details are just as important as big ones. What small details have you included in your fictional works that serve as proof that the world you’ve built is real?
Flight times. Transportation times. Time zone issues. Logical travel guidelines for pregnant women. The pain of a stubbed toe or a broken rib. I also do a lot of work around Theory of Mind which is the ability to understand that other people have different thoughts, knowledge and perspectives. In many instances, a character couldn’t know what another was thinking, and vice versa. My series are caper novels. Strategic timing, in a tight, logical order is paramount – without giving too much away!
Give me an example of where your charters’ interactions further develop your world.
They shop, they quarrel, they listen to music, they love in environments which some may only dream about.
Specific to one of your stories, how did you make it come alive?
Details! For example, in book two, Titan Takedown, I didn’t know anything about poultry farming. That may seem odd, but it’s true! I learned many things – most of them sad, about the industry. I don’t think I’ll look a rotisserie chicken the same way again. John Oliver did a segment about the industry which was my inspiration. Thanks, John! You’re brilliant in every way!
“Shut up! It’s cool!” Every writer does it. Provide an example of one of your “It’s cool” moments that maybe we’ll never see within one of your works.
I have moments where a clothing description is very detailed and reads a bit too technical. While I should incorporate the feel or the garment into the story, I’m challenged because the intricacy of a Zac Posen gown, for example, for me, can only be visualized by the details. Omitting one of the following elements would visually alter the look of the dress. Blue silk, halter-neck trumpet gown with a squared halter neckline, fitted bodice and trumpet skirt with the pleats falling from mid-thigh. A straight hem falling to the floor with a train at the back… You get the idea. I’ve worked hard, shopping, selecting a particular gown for a particular character and I want the details to shine. Then add the jewelry, and hair, and shoes, and I’ve got a lot of stuff to make swim with the story. At some point, I usually respond to the editor’s request for revisions with snarky responses of “Leave it.”
Research: What research have you done that helped to build a specific world in your writing?
I spend a tremendous amount of time reviewing the looks of clothing designers and their collections. The world of haute couture and the particular designer styles is wildly inspiring. The clothes and designers are genius – even with the simple stuff. The really odd creations should be applauded too for pushing the bar. Choosing the right look for each of my characters is incredibly important, not only to display their taste and further who they are, but to paint their world.
How does world building NOT equate to storytelling?
How about when folks are in the sack? Who needs worlds then?
Have you created a map? Is there a picture of the map I can include in my writing about your work?
I’ve drawn homes. Whispering Cliffs, for example, is somewhat fully formed in my mind. I have an architectural drawing, but it is definitely not something I would share. It’s very rough, and embarrassing. I can’t draw a stick figure.
Do you set goals for your worlds?
To use it as a lure. Come on in…..settle back…..you’re welcome here. Then close the trap. You’ll never be a Carrows, pal.
Give me an example of one of your worlds the self-imposed limits you included?
It’s gotta be logical, but with leaps of faith. An example of a leap would be that there really are people in this world who will do an illegal job capably, with discretion, and remain forever loyal to the boss. I think of the Ocean’s Eleven movies as inspiration. A society which is closed, but forever faithful to one another.
Society, rituals, and symbolism: Have you included any unique elements like this in your world?
Manners and graciousness are vitally important to the Carrows at all times. They recognize that they are – I was going to say lucky – but that would be inaccurate. They believe they have earned their wealth – through illegal means if necessary – but still – (shrug, sigh). But they are not nasty snobs.
Cause and effect: Give me an example of one of the laws of your world and how it applies and impacts your characters within the story.
Laws? All laws are meant to be broken for the right cause. 🙂 But you don’t want to get caught breaking them and you don’t want the bad guy to see you coming.
Follow Annabelle on her website: https://theannabellelewis.com/
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If you missed Annabelle’s guest post, you can find it here: A Character’s World