How I made a book with Markdown and Pandoc

So I’m getting ready to self-publish my first book. I’ll have more detail about that as soon as it’s done; for now, I’m going to talk a little about the behind-the-scenes work. This post really straddles the line between writing and computers, and there will be some technical bits, so be warned.

The tech

I’ll admit it. I don’t like word processors that much. Microsoft Word, LibreOffice Writer, or whatever else is out there (even the old standby: WordPerfect), I don’t really care for them. They have their upsides, true, but they just don’t “fit” me. I suspect two reasons for this. First, I’m a programmer. I’m not afraid of text, and I don’t need shiny buttons and WYSIWYG styling. Second, I can be a bit obsessive. Presented with all the options of a modern word processor, like fonts and colors and borders and a table of contents, I’d spend more time fiddling with options than I would writing! So, when I want to write, I don’t bother with the fancy office apps. I just fire up a text editor (Vim is my personal choice, but I wouldn’t recommend it for you) and get to it.

“But what about formatting?” you may ask. Well, that’s an interesting story. At first, I didn’t even bother with inline formatting. I used the old-school, ad hoc styling familiar to anybody who remembers USENET, IRC, or email conversations. Sure, I could use HTML, just like a web page would, but the tags get in the way, and they’re pretty ugly. So I simply followed a few conventions, namely:

  • Chapter headers are marked by a following line of = or -.
  • A blank line means a paragraph break.
  • Emphasis (italics or text in a foreign language, for example) is indicated by surrounding _.
  • Bold text (when I need it, which is rare) uses *.
  • Scene breaks are made with a line containing multiple * and nothing else. (e.g., * * *)

Anything else—paragraph indentation, true dashes, block quotes, etc.—I’d take care of when it was time to publish. (“I’ll fix it in post.”) Simple, quick, and to the point. As a bonus, the text file is completely readable.

Mark it up

I based this system on email conventions and the style used by Project Gutenberg for their text ebooks. And it worked. I’ve written about 400,000 words this way, and it’s certainly good for getting down to business. But it takes a lot of post-processing, and that’s work. As a programmer, work is something I like to avoid.

Enter Markdown. It’s not much more than a codified set of conventions for representing HTML-like styling in plain text, and it’s little different from what I was already using. Sounds great. Even better, it has tool support! (There’s even a WordPress plugin, which means I can write these posts in Markdown, using Vim, and they come out as HTML for you.)

Markdown is great for its intended purpose, as an HTML replacement. Books need more than that, though; they aren’t just text and formatting. And that’s where the crown jewel comes in: Pandoc. It takes in Markdown text and spits out HTML or EPUB. And EPUB is what I want, because that’s the standard for ebooks (except Kindle, which uses MOBI, but that’s beside the point).

Putting the pieces together

All this together means that I have a complete set of book-making tools without ever touching a word processor, typesetting program, or anything of the sort. It’s not perfect, it’s not fancy, and it certainly isn’t anywhere near professional. But I’m not a professional, am I?

For those wondering, here are the steps:

  1. Write book text in Pandoc-flavored Markdown. (Pandoc has its own Markdown extensions which are absolutely vital, like header identifiers and smart punctuation.)

  2. Write all the other text—copyright, dedication, “About the Author”, and whatever else you need. (“Front matter” and “back matter” are the technical terms.) I put these in separate Markdown files.

  3. Create EPUB metadata file. This contains the author, title, date, and other attributes that ebook readers can use. (Pandoc uses a format called YAML for this, but it also takes XML.)

  4. Make a cover. This one’s the hard part for me, since I have approximately zero artistic talent.

  5. Create stylesheet and add styling. EPUB uses the same CSS styling as HTML web pages, and Pandoc helps you a lot with this. Also, this is where I fix things like chapter headings, drop caps/raised initials, and so on.

  6. Run Pandoc to generate the EPUB. (The command would probably look something like this: pandoc --smart --normalize --toc-depth=1 --epub-stylesheet=<stylesheet file> --epub-cover-image=<cover image> -o <output file> <front matter .md file> <main book text file(s)> <back matter .md file> <metadata .yml or .xml file>)

  7. Open the output file in an ebook reader (Calibre, for me) and take a look.

  8. Repeat steps 5 and 6 until the formatting looks right.

  9. Run KindleGen to make a MOBI file. You only need this if you intend to publish on Amazon’s store. (I do, so I had to do this step.)

  10. Bask in the glory of creating a book! Oh, and upload your book to wherever. That’s probably a good idea, too.

Yeah, there are easier methods. A lot of people seem allergic to the command line; if you’re one of them, this isn’t the way for you. But I’m comfortable in the terminal. As I said, I’m a programmer, so I have to be. The hardest part for me (except the cover) was figuring out the options I needed to make something that looked like a proper ebook.

Even if you don’t use my cobbled-together method of creating an ebook, you still owe it to yourself to check out Pandoc. It’s so much easier, in my opinion, than a word processor or ebook editor. There are even graphical front-ends out there, if that’s what you prefer. But I like working with plain text. It’s easy, it’s readable, and it just works.

Let’s make a language – Part 7b: Adjectives (Isian)

Adjectives in Isian, like in English, aren’t that much of a problem. They don’t have a specific form that marks them out as what they truly are. They don’t change for number like nouns do. They’re really just…there. A few examples of Isian adjectives include wa “big”, hul “cold”, yali “happy”, and almerat “wise”.

As we saw in the last Isian post, the normal word order puts adjectives before nouns, and articles before adjectives. So we can make fuller noun phrases like ta wa talar “a big house” or e yali eshe “the happy girl”. In each case, the order is mostly the same as in English: article, then adjective, then noun.

We can even string adjectives together: es almerat afed sami “the wise old men”. (If you prefer adding commas between adjectives, that’s fine, too. It’s okay to write es almerat, afed sami, but it’s not required.)

Like in English, we can’t use an adjective like this without a noun. It’s not grammatical in Isian to say es almerat. Instead, we have to add an extra word, a: es almerat at “the wise ones”. (At least it has a regular plural form.) After a vowel, it becomes na: ta wa na “a big one”.

We can also use an adjective as a predicate. Here, it follows the copula (tet or one of its conjugations). An example might be en yali “I am happy”.

Isian adjectives also have equivalents to the English comparative and superlative (“-er” and “-est”) forms. As with many suffixes in the language, these vary based on the stem’s ending. For consonant-stems, the comparative is -in and the superlative is -ay. Vowel-stems simply insert a d at the beginning of the suffix to make -din and -dai, respectively. So yali “happy” becomes yalidin “happier* and yaliday “happiest”, while hul “cold” turns into hulin “colder” and hulai “coldest”.

There are a couple of differences, though. First, these suffixes can be used on any adjective; Isian has no counterparts to those English adjectives that require “more” and “most” instead of “-er” and “-est”. (On the plus side, we don’t have to worry about three forms for bil “good”. It’s fully regular: bil, bilin “better”, bilai “best”.)

Second, adjectives that are derived from nouns, like “manly” from “man”, usually can’t take the superlative. We haven’t yet seen any of those (or even how to make them). For these, the comparative serves both purposes.

That’s pretty much all there is to adjectives in Isian, as far as the basics are concerned. Now we can make quite a few more complex phrases and even some nice sentences. There’s still a lot more to come, though.

Isian word list

Not every word that we’ve seen is in this list, but it covers almost all of the “content” words in their base forms, along with a whole bunch of new ones you can try out. Also, words with irregular plurals have their plural suffixes shown in parenthesis, e.g., the plural of tay is tays.

English Isian
air rey
all sota
angry hayka
animal embin
any ese
arm ton
back bes
bad num
beautiful ichi
bed dom
big wa
bird firin
bitter guron
black ocom
blood miroc
blue sush
boat sholas
body har
bone colos
book peran
bottom dolis
boy jed
bread pinda(r)
bright lukha
brother doyan
car choran
cat her
chest sinal
child tay(s)
city eblon
closed noche
cloth waf
cloud albon
cold hul
color echil
correct ochedan
cup deta(s)
daughter sali(r)
day ja
daytime jamet
dim rum
dog hu
door opar
dress lash
drink adwar
dry khen
ear po(s)
earth tirat
egg gi(r)
every alich
eye bis
face fayan
false nanay
father pado(s)
few uni
field bander
finger ilca(s)
fire cay
flower atul
food tema
foot pusca
forest tawetar
friend chaley
front hamat
fruit chil
girl eshe(r)
glass arcol
gold shayad
good bil
grass tisen
green tich
hair pardel
hand fesh
happy yali
hard dosem
hat hop
head gol
heart sir
hill modas
hot hes
house talar
ice yet
island omis
king lakh
knife hasha
lake fow
leaf eta
left kintes
leg dul
light say
long lum
loud otar
man sam
many mime
meat shek
milk mel
moon nosul
mother mati(r)
mountain abrad
mouth ula
name ni
narrow ilcot
net rec
new ekho
nice nim
night chok
nose nun
not an
old afed
open bered
paper palil
peace histil
pen etes
person has
plant dires
poor umar
pot fan
queen lasha(r)
rain cabil
red ray
rich irdes
right estes
river ficha(s)
rock tag
rough okhor
sad nulsa
scent inos
sea jadal
sharp checor
shirt jeda(s)
shoe taf
short (tall) wis
short (long) wis
silent anchen
sister malin
skin kirot
sky halac
small ish
smooth fu
snow saf
soft ashel
son sor
sound polon
sour garit
star key
sun sida
sweet lishe
sword seca
table mico
tail hame
tall wad
thick gus
thin tin
to allow likha
to ask oca
to be tet
to begin nawe
to blow furu
to build oste
to burn becre
to buy tochi
to catch sokhe
to come cosa
to cook piri
to cry acho
to cut sipe
to dance danteri
to die nayda
to do te
to drink jesa
to eat hama
to end tarki
to enter yoweni
to feel ilsi
to give jimba
to go wasa
to guard holte
to have fana
to hear mawa
to hit icra
to hold otasi
to hunt ostani
to kiss fusa
to know altema
to laugh eya
to learn nate
to like mire
to live liga
to live in dalega
to look at dachere
to look for ediche
to love hame
to make tinte
to plant destera
to play bela
to pray barda
to read lenira
to receive rano
to run hota
to say ki
to see chere
to sell dule
to sing seri
to sit uba
to sleep inama
to smell nore
to speak go
to stand ayba
to taste cheche
to teach reshone
to think tico
to throw bosa
to touch shira
to walk coto
to want doche
to wash hishi
to wear disine
to write roco
tongue dogan
tooth ten
top poy
tree taw
true ferin
ugly agosh
war acros
warm him
water shos
wet shured
white bid
wide pusan
wind naf
wise almerat
woman shes
wood totac
word ur
world sata(r)
wrong noni
year egal
yellow majil
young manir

Mars: fantasy and reality

Mars is in the public consciousness right now. The day I’m writing this, in fact, NASA has just announced new findings that indicate flowing water on the Red Planet. Of course, that’s not what most people are thinking about; the average person is thinking of Mars because of the new movie The Martian, a film based on a realistic account of a hypothetical Mars mission from the novel of the same name.

We go through this kind of thing every few years. A while back, it was John Carter. A few years before that, we had Mission to Mars and Red Planet. Go back even further, and you get to Total Recall. It’s not really that Mars is just now appearing on the public’s radar. No, this goes in cycles. The last crop of Martian movies really came about from the runaway success of the Spirit and Opportunity rovers. Those at the turn of the century were inspired by earlier missions like Mars Pathfinder. And The Martian owes at least some of its present hype to Curiosity and Phoenix, the latest generation of planetary landers.

Move outside the world of mainstream film and into written fiction, though, and that’s where you’ll see red. Mars is a fixture of science fiction, especially the “harder” sci-fi that strives for realism and physical accuracy. The reasons for this should be obvious. Mars is relatively close, far nearer to Earth than any other body that could be called a planet. Of the bodies in the solar system besides our own world, it’s probably the least inhospitable, too.

Not necessarily hospitable, mind you, but Mars is the least bad of all our options. I mean, the other candidates look about as habitable as the current Republican hopefuls are electable. Mercury is too hot (mostly) and much too difficult to actually get to. Venus is a greenhouse pressure cooker. Titan is way too cold, and it’s about a billion miles away, to boot. Most everything else is an airless rock or a gas giant, neither of which scream “habitable” to me. No, if you want to send people somewhere useful in the next couple of decades, you’ve got two options: the moon and Mars. And we’ve been to the moon. (Personally, I think we should go back there before heading to Mars, but that seems to be a minority opinion.)

But say you want to write a story about people leaving Earth and venturing out into the solar system. Well, for the same reasons, Mars is an obvious destination. But the role it plays in a fictional story depends on a few factors. The main one of these is the timeframe. When is your story set? In 2050? A hundred years from now? A thousand? In this post, we’ll look at how Mars changes as we move our starting point ahead in time.

The near future

Thanks to political posturing and the general anti-intellectual tendencies of Americans in the last generation, manned spaceflight has taken a backseat to essentially everything else. As of right now, the US doesn’t even have a manned craft, and the only one on the drawing board—the Orion capsule—is intentionally doomed to failure through budget cuts and appropriations adjustments. The rest of the world isn’t much better. Russia has the Soyuz, but it’s only really useful for low-Earth orbit. China doesn’t have much, and they aren’t sharing, anyway. Private companies like SpaceX are trying, but it’s a long, hard road.

So, barring a reason for a Mars rush, the nearest future (say, the next 15-20 years) has our planetary neighbor as a goal rather than a place. It’s up there, and it’s a target, but not one we can hit anytime soon. The problem is, that doesn’t make for a very interesting story.

Move up to the middle of this century, starting around 2040, and even conservative estimates give us the first manned mission to Mars. Now, Mars becomes like the moon in the 1960s, a destination, a place to be conquered. We can have stories about the first astronauts to make the long trip, the first to blaze the trail through interplanetary space.

With current technology, it’ll take a few months to get from Earth to Mars. The best times happen once every couple of years; any other time would increase the travel duration dramatically. The best analogy for this is the early transoceanic voyages. You have people stuck in a confined space together for a very long time, going to a place that few (or none) have ever visited, with a low probability of survival. Returning early isn’t an option, and returning at all might be nearly impossible. They will run low on food, they will get sick, they will fight. Psychology, not science, can take center stage for a lot of this kind of story. A trip to Mars can become a character study.

The landing—assuming they survive—moves science and exploration back to the fore. It won’t be the same as the Apollo program. The vagaries of orbital mechanics mean that the first Mars missions won’t be able to pack up and leave after mere hours, as Apollo 11 did. Instead, they’ll be stuck for weeks, even months. That’s plenty of time to get the lay of the land, to do proper scientific experiments, to explore from ground level, and maybe even to find evidence of Martian life.

The middle

In the second half of this century, assuming the first trips are successful, we can envision the second stage of Mars exploration. This is what we should have had for the moon around 1980; the most optimistic projections from days gone by (Zubrin’s Mars Direct, for example) put it on Mars around the present day. Here, we’ve moved into a semi-permanent or permanent presence on Mars for scientific purposes, a bit like Antarctica today. Shortly after that, it’s not hard to envision the first true colonists.

Both of these groups will face the same troubles. Stories set in this time would be of building, expanding, and learning to live together. Mars is actively hostile to humans, and this stage sees it becoming a source of environmental conflict, an outside pressure acting against the protagonists. Antarctica, again, is a good analogy, but so are the stories of the first Europeans to settle in America.

The trip to Mars won’t get any shorter (barring leaps in propulsion technology), so it’s still like crossing the Atlantic a few centuries ago. The transportation will likely be a bit roomier, although it might also carry more people, offsetting the additional capacity. The psychological implications exist as before, but it’s reasonable to gloss over them in a story that doesn’t want to focus on them.

On the Red Planet itself, interpersonal conflicts can develop. Disasters—the Martian dust storm is a popular one—can strike. If there is native life in your version of Mars, then studying it becomes a priority. (Protecting it or even destroying it can also be a theme.) And, in a space opera setting, this can be the perfect time to inject an alien artifact into the mix.

Generally speaking, the second stage of Mars exploration, as a human outpost with a continued presence, is the first step in a kind of literary terraforming. By making Mars a setting, rather than a destination, the journey is made less important, and the world becomes the focus.

A century of settlement

Assuming our somewhat optimistic timeline, the 22nd century would be the time of the land grab. Propulsion or other advances at home make the interplanetary trip cheaper, safer, and more accessible. As a result, more people have the ability to venture forth. Our analogy is now America, whether the early days of colonization in the 17th century or the westward push of manifest destiny in the 19th.

In this time, as Mars becomes a more permanent human settlement, a new crop of plot hooks emerges. Social sciences become important once again. Religion and government, including self-government, would be on everyone’s minds. Offshoot towns might spring up.

And then we get to the harder sciences, particularly biology. Once people are living significant portions of their lives on a different planet, they’ll be growing their own food. They’ll be dying, their bodies the first to be buried in Martian soil. And they’ll be reproducing.

Evolution will affect every living thing born on Mars, and we simply don’t know how. The lower gravity, the higher radiation, the protective enclosure necessary for survival, how will these changes affect a child? It won’t be an immediate change, for sure, but the second or third generation to be born on Mars might not be able to visit the birthplace of humanity. Human beings would truly split into two races—a distinction that would go far beyond mere black and white—and the word Martian would take on a new meaning.

Mars remains just as hostile as before, but it’s a known danger now. It’s the wilderness. It’s a whole world awaiting human eyes and boots.

Deeper and deeper

As time goes by, and as Mars becomes more and more inhabited, the natural conclusion is that we would try to make it more habitable. In other words, terraforming. That’s been a presence in science fiction for decades; one of the classics is Kim Stanley Robinson’s Mars trilogy, starting with Red Mars.

In the far future, call it about 200 years from now, Mars can truly begin to become a second planet for humanity. At this point, people would live their whole lives there, never once leaving. Towns and cities could expand, and an ultimate goal might arise: planetary independence.

But the terraforming is the big deal in this late time. Even the best guesses make this a millennia-long process, but the first steps can begin once enough people want them to. Thickening the atmosphere, raising the worldwide temperature, getting water to flow in more than the salty tears NASA announced on September 28, these will all take longer than a human lifetime, even granting extensive life-lengthening processes that might be available to future medicine.

For stories set in this time, Mars can again become a backdrop, the set upon which your story will take place. The later the setting, the more Earth-like the world becomes, and the less important it is that you’re on Mars.

The problems these people would face are the same as always. Racial tensions between Earthlings and Martians. The perils of travel in a still-hostile land. The scientific implications of changing an entire world. Everything to do with building a new society. And the list goes on, limited only by your imagination.

Look up

Through the failings of our leaders, the dream of Mars has been delayed. But all is not lost. We can go there in our minds, in the visuals of film, the words of fiction. What we might find when we arrive, no one can say. The future is what we make of it, and that is never more true than when you’re writing a story set in it.

Let’s make a language – Part 7a: Adjectives (Intro)

We’ve talked about nouns. We’ve talked about verbs. That’s two of the main three parts of speech present in most languages, which leaves only one, and that one is the subject of this post.

Adjectives are describing words. They tell us something about a noun, such as its color (“red”), its shape (“round”), or its mood (“angry”). In theory, that’s pretty much all there is to the adjective, but we can’t stop there.

A brief introduction

Just about every language has adjectives. (Most of those that claim they don’t are merely cleverly disguising them.) And most languages have a few different sorts of adjectives. The main kind—probably the most interesting—is the attributive adjective. That’s the one that modifies a noun or noun phrase to add detail: “the red door”, “a big deal”. We’ll be seeing a lot of these.

Predicate adjectives don’t directly modify a noun phrase. Instead, they function as a “predicate”, basically like the object to a verb, as in English “the child is happy“, “that man is tall“. We’ll talk more about them a little later, because they can be quite special.

Most of the other types besides these two aren’t quite as important, but they serve to show that adjectives are flighty. Some languages let them act like nouns (the canonical English example is the biblical quote “the meek shall inherit the earth”). Some treat them like verbs, a more extreme variant of the predicate adjective where it’s the adjective itself that is marked for tense and concord and all the other verb stuff. Adjectives can even have their own phrases, just like nouns and verbs. In this case, other adjectives (or adverbs) modify the main one, further specifying meaning.

So there’s actually a lot more to the humble adjective than meets the eye.

Attributives

First, we’ll look at the attributive adjectives. Except for the head noun, these will probably be the “meatiest” portions of noun phrases, in terms of how much meaning they provide. Depending on the language, they can go either before or after a noun, as we saw when we looked at word order. English, for example, puts them before, while Spanish likes them to go after the head noun.

In languages with lots of nominal distinction (case, number, gender, etc.), there’s a decision to be made. Do adjectives follow their head nouns in taking markers for these categories? They do in Spanish (la casa grande, las casas grandes), but not in English (“the big house”, “the big houses”). Also, if gender is assigned haphazardly, as it is in so many languages, do adjectives have a “natural” gender, or are there, say, separate masculine and feminine forms? What about articles? Arabic, for example, requires an adjective to take the definite article al- if it modifies a noun with one. Basically, the question can be summed up as, “How much are attributive adjectives like nouns?”

English is near one end of the spectrum. An English adjective has no special plural form; indeed, it doesn’t change much at all. At the other end, we can imagine adjectives that are allowed to completely take the place of nouns, where they are inflected for case and number and everything else, and they function as the heads of noun phrases, perhaps with a suffix or something to remind people of their true nature. Languages like this, in fact, are the norm, and English is more like the exception.

Predicates

Predicate adjectives (the technical term is actually “predicative”, but I find it a bit clumsy), by contrast, seem more like verbs. In English, as in many languages, they are typically the objects of the copula verb, the equivalent of “to be”. They’re still used to modify a noun, but in a different way.

Again, as with attributives, we can ask, “How verb-like are they?” There’s not too much difference between “the man is eating” and “the man is hungry“, at least as far as word order is concerned, but that’s where the similarities end in English. We can’t have a predicate adjective in the past tense (although we can have a copula in it), but other languages do allow this. For some, predicates are verbs, in essentially every aspect, including agreement markers and other bits of verbal morphology; others allow either option, leaning one way or the other. Strangely enough, the familiar European languages are strict in their avoidance of verbal adjectives, instead preferring copulas.

If a language does permit adjectives to take on the semblance of verbs, then what parts of it? Are they conjugated for tense? Do they have agreement markers? Is every adjective a potential verb, or are only some of them? This last is an interesting notion, as the “split” between verbal predicates and nonverbal ones can be based on any number of factors, a bit like noun gender. A common theme is to allow some adjectives to function as verbs when they represent a temporary state, but require a nonverbal construction when they describe inherent qualities.

Comparison

Since adjectives describe qualities of a noun, it’s natural to want to compare them. Of course, not all of them can be compared; which ones can is different for different languages. In English, it’s largely a matter of semantics: “most optimum”, among others, is considered incorrect or redundant. But most adjectives are comparable. This isn’t the case with every language, however. Some have only a special set of comparable adjectives, and a few have none at all.

Some languages offer degrees of comparison, like English’s “big/bigger/biggest” or “complex/more complex/most complex”. In these cases, the second of the trio is called the comparative, while the third is the superlative. (I don’t know of any languages that have more than three degrees of comparison, but nothing says it’s impossible. Alien conlangers, take note.)

Looking ahead

Determiners are a special class of word that includes articles (like “a” and “the”), demonstratives (“this” and “that”), possessives (“my”, “his”), and a few other odds and ends. They work a bit like adjectives, and older grammars often considered them a subset. But that has fallen out of fashion, and now they’re their own thing. I mention them here partly as a taste of things to come, and as a good lead-in for next time. I’ll talk much more about them in the next theory post, which covers pronouns, since that’s what they seem most like to me.

At this point, we’re done with the “grind” of conlanging. So far, we’ve covered everything from the sounds of a language, to the formation of words, and the three big grammatical categories of noun, verb, and adjective. Sure, we could delve deeper into any of these, and entire textbooks have been written on all of these topics, but we don’t have to worry about that. We can deal with the details as they arise. There’s plenty more to come—we haven’t even begun to look at pronouns or prepositions or even adverbs—but the hardest part, I feel, is behind us. We’re well on our way. Next, we’ll take a look at adjectives in Isian and Ardari, and you’ll get to see the first true sentences in both conlangs, along with a large selection of vocabulary.

Let’s make a language – Part 6b: Word order (Conlangs)

After the rather long post last time, you’ll be happy to know that describing the word order for our two conlangs is actually quite simple. Of course, a real grammar for a language would need to go into excruciating detail, but we’re just sketching things out at this stage. We can fill in exceptions to the rules as they come. And, if you’re making a natural-looking conlang, then they will come.

Sentences

The sentence level is where Isian and Ardari diverge the most. Isian is an SVO language, like English; subjects go before the verb, while objects go after. So we might have e sam cheres ta hu “the man saw a dog”. (By the way, this is a complete sentence, but we’ll ignore punctuation and capitalization for the time being.) For intransitive sentences, the order is simply SV: es tays ade eya “the children are laughing”. Oblique arguments, when we eventually see them, will immediately follow the verb.

Ardari is a little different. Instead of SVO, this language is SOV, although it’s not quite as attached to its ordering as Isian. Most sentences, however, will end with a verb; those that don’t will generally have a good reason not to. Using the same example above, we have konatö rhasan ivitad “the man saw a dog”. Intransitives are usually the same SV as Isian: sèdar jejses “the children are laughing”. We can change things around a little, though. An Ardari speaker would understand you if you said rhasan konatö ivitad, although he might wonder what was so important about the dog.

Verb phrases

There’s not too much to verb phrases in either of our conlangs, mostly because we haven’t talked much about them. Still, I’ll assume you know enough about English grammar to follow along.

For Isian, calling it “order” might be too much. Adverbs and auxiliary verbs will come before the head verb, but oblique clauses will follow it. This is pretty familiar to English speakers, and—with a few exceptions that will pop up later—Isian verb phrases are going to look a lot like their English counterparts.

Ardari might seem a little bit more complicated, but it’s really just unusual compared to what you know. The general rule for Ardari verb phrases (and the other types of phrases, for the most part) is simple: the head goes last. This is basically an extension to the SOV sentence order, carried throughout the language, and it’s common in SOV languages. (Look at Japanese for a good example.) So adverbs and oblique clauses and all the rest will all come before the main verb.

Noun phrases

Because of all the different possibilities, there’s no easy way of describing noun phrase order. For Isian, it’s actually quite complex, and almost entirely fixed, again like English. The basic order is this:

  • Determiners come first. These can be articles, numerals, or demonstratives. (We’ll meet these last two in a later post.)
  • Next are adjectives, which can also be phrases in their own right.
  • Complement clauses come next. These are hard to explain, so it’s best to wait until later.
  • Attributive words are next. This type of noun is what creates English compounds like “boat house”.
  • After these comes the head noun, buried in the middle of things.
  • After the head, some nouns can have an infinitive or subjunctive phrase added in here.
  • Prepositional phrases are next.
  • Lastly, we have the relative clauses.

That’s a lot, but few noun phrases are going to have all of these. Most will get by with a noun, maybe an adjective or two, and possibly a relative or prepositional phrase.

Ardari isn’t nearly as bad. Once again, the head is final, and this means the noun. Everything else comes before it, in this order:

  • Demonstratives and numerals come first. (Ardari doesn’t have articles, remember.)
  • Attributive adjectives and nouns are next, along with a few types of oblique phrases that we’ll mention as they come up.
  • Relative, complement, postpositional, adjectival, and other complex clauses, go after these.
  • The head noun goes here, and this is technically the end of the noun phrase.
  • Some adverb clauses that modify nouns can appear after the head, but these are rare.

For the most part, the order doesn’t matter so much in Ardari, as long as each phrase is self-contained. Since it’s easy to tell when a phrase ends (when it gets to the head noun/verb/adjective/whatever), we can mix things up without worry. The above is the most “natural” order, the one that our fictitious Ardari speakers will use by default.

Prepositions

Isian has prepositions, and they work just like those in English. Ardari, on the other hand, uses post-positions, which follow their noun phrases, again another example of its head-final nature. (The “head” of a prepositional phrase is the preposition itself, not the head noun.) We’ll definitely see a lot of both of these in the coming weeks.

Everything else

All the other possible types of phrase will be dealt with in time. For Ardari, the general rule of “head goes at the end” carries through most of them. Isian is more varied, but it will usually stick to something approximating English norms.

Looking ahead

Next up is adjectives, which will give us a way to make much more interesting sentences in both our fledgling conlangs. We’ll also get quite a bit more vocabulary, and possibly our first full translations. (We’ll see about that one. They may be left as exercises for the reader.)

Beyond that, things will start to become less structured. With the linguistic trinity of noun-verb-adjective out of the way, the whole world of language opens up. Think of everything so far as the tutorial mission. Soon, we’ll enter the open sandbox.

Dragons in fantasy

If there is one thing, one creature, one being that we can point to as the symbol of the fantasy genre, it has to be the dragon. They’re everywhere in fantasy literature. The Hobbit, of course, is an old fantasy story that has come back into vogue in the last few years. More recent books involve dragons as major characters (Steven Erikson’s Malazan series) or as plot points (Daniel Abraham’s appropriately-titled The Dragon’s Path). Movies go through cycles, and dragons are sometimes the “in” subject (the movies based on The Hobbit, but also less recent films like Reign of Fire). Television likes dragons, too, when it has the budget to do them (Game of Thrones, of course). And we can also find these magnificent creatures represented in video games (Drakengard, Skyrim), tabletop RPGs (Dungeons & Dragons—it’s even in the name!), and music (DragonForce).

So what makes dragons so…interesting? It’s not a recent phenomenon; dragon legends go back centuries. They feature in Arthurian legend, Chinese mythology, and Greek epics. They’re everywhere, all throughout history. Something about them fires the imagination, so what is it?

The birth of the dragon

Every ancient culture, it seems, has a mythology involving giant beasts of a kind unknown to modern science. We think of the Greek myths of the Hydra, of course, but it’s only one of many. Even in the Bible, monsters are found: the leviathan and behemoth found in the book of Job, for example. But something like a dragon seems to be found in almost every mythos.

How did this happen? For things like this, there are usually a few possible explanations. One, it could be a borrowing, something that arose in one culture, then spread to its neighbors. That seems plausible, except that New World peoples also have dragon-like supernatural beings, and they had them before Columbus. Another possibility is that the first idea of the dragon was invented in the deep past, before humanity spread to every corner of the globe. But that’s a bit far-fetched. You’d then have to explain how something like that stuck around for 30,000 or so years with so little change, using only art and oral transmission for most of that time.

The third option is, in my opinion, the most reasonable: the idea of dragons arose in a few different places independently, in something like convergent evolution. Each “region” would have its own dragon mythology, where the concept of “dragon” is about the same, while different regions might have wildly different ideas of what they should be.

I would also say that the same should be true for other fantastical creatures—giants, for instance—that pop up around the world. And, in my mind, there’s a perfectly good reason why these same tropes appear everywhere: fossils. We know that there used to be huge animals roaming the earth. Dinosaurs could be enormous, and you could imagine a Bronze Age hunter stumbling upon the fossilized bones of one of them and jumping to conclusions.

Even in recent geological time, it was only the Ice Age that wiped out the mammoths and so many other “megafauna”. (Today’s environmental movement tends to want to blame humans for everything bad, including this, but the evidence can be twisted just about any way you like.) In these cases, we can see the possibility that early human bands did meet these true giants, and they would have told stories about them. In time, those stories, as such stories tend to do, could have become legendary. For dragons, this one doesn’t matter too much, but it’s a point in favor of the idea that ancient peoples saw giant creatures—or their remains—and mythologized them into dragons and giants and everything else.

The nature of the beast

Moving far forward in time, we can see that the modern era’s literature has taken the time-honored myth of the dragon and given it new direction. At some point in the last few decades, authors seem to have decided that dragons must make sense. Sure, that’s completely silly from a mythological point of view, but that’s how it is.

Even in older stories, though, dragons had a purpose. That purpose was different for different stories, as it is today. For many of them, the dragon is a nemesis, an enemy. Sometimes, it’s essentially a force of nature, if not a god in its own right. In a few, dragons are good guys, protectors. Christian cultures in medieval times liked to use the slaying dragon as a symbol for the defeat of paganism. But it’s only relatively recently that the idea of dragons as “people” has become popular. Nowadays, we can find fiction where dragons are represented as magicians, sages, and oracles. A few settings even turn them into another sapient race, with their own civilization, culture, religion, and so on.

The form of dragons also depends a lot on the which mythos we’re talking about. The modern perception of a dragon as a winged, bipedal serpent who breathes fire and hoards gold (in other words, more like the wyvern) is just one possibility. Plenty of cultures have wingless dragons, and most of the “true” dragons have no legs; they’re more like giant snakes. Still, there’s an awful lot of variation, and there’s no single, definitive version of a dragon.

Your own dragon

Dragons in a work of fiction, whether novel or film or game, need to be there for a reason, if you want a coherent story. You don’t have to work out a whole ecological treatise on them, showing their diets, sleep patterns, and reproductive habits—Tolkien’s dragons, for example, were supernatural creations, so they didn’t have to make scientific sense—but you should know why a dragon appears.

If there’s only one of them, there’s probably a reason why. Maybe it’s a demon, or a creation of the gods, or an avatar of chaos. Maybe it’s the sole survivor of its kind, frozen in time for millennia (that’s a big spoiler, but I’m not going to tell you for what). Whatever you come up with, you should be able to justify it with something more than “because it’s there”. The more dragons you have, the more this problem can grow. In the extreme, if they’re everywhere, why aren’t they running things?

More than their reason for existing in the first place, you need to think about their story role. Are they enemies? Are they good or evil? Can they talk? What are they like? Smaug was greedy and haughty, for instance, and it’s a conceit of D&D that dragons are complex beings that are completely misunderstood by us lesser mortals simply because we can’t understand their true motives.

Are there different kinds of dragons? Again we can look at D&D, which has a bewildering assortment even before we include wyverns, lesser drakes, and the like. Of course, a game will need a different notion of role than a novel, and gamers like variation in their enemies, but only the most jaded player would think of a dragon as anything less than a major boss character.

Another thing that’s popular is the idea that dragons can change their form to look human. This might be derived from RPGs, or they might have taken it from an earlier source. However it worked out, a lot of people like the idea of a shapeshifting dragon. (Half the characters in the aforementioned Malazan series seem to be like this, and that’s not the only example in fantasy.) Shapechanging, of course, is an important part of a lot of fantasy, and I might do a post on it later on. It is another interesting possibility, though, if you can get it right.

In a very big way, dragons-as-people is a similar problem as other fantasy races, as well as sci-fi aliens. The challenge here is to make something that feels different, something that isn’t quite human, while still making it believable for the story at hand. If dragons live for 500 years, for example, they will have a different outlook on life and history than we would. If they lay eggs—and who doesn’t like dragon eggs?—they won’t understand the pain and danger of live childbirth, among other things. The ways in which a dragon isn’t like a human are breeding grounds for conflict, both internal and external. All you have to do is follow the notion towards its logical conclusion. You know, just like everything else.

In conclusion, I’d like to say that I do like dragons, when they’re done right. They can be these imposing, alien presences beyond reason or understanding, and that is something I find interesting. But in the wrong hands, they turn into little more than pets or mounts, giant versions of dogs and horses that happen to have scales. Dragons don’t need to be noble or evil, but they should have an impact when you meet one. I mean, you’d feel amazed if you met one in real life, wouldn’t you?

Let’s make a language – Part 6a: Word order (Intro)

We’ve looked at nouns and verbs in isolation, and even in a few simple phrases. Now it’s time to start putting things together, using these small parts as building blocks to create larger, more complex utterances. To do that, though, we need to set a few ground rules, because there’s a big difference between a jumble of words and a grammatically correct sentence. We must have order.

You have a few different options for going about this. Personally, I like to take a “top-down” approach, starting at the level of sentences and working my way down. Others prefer the “bottom-up” approach, where you work out the rules for noun phrases, verb phrases, and so on before putting them all into a sentence. Either way is fine, but the bottom-up fans will have to wait to apply the lessons of this part, since we haven’t even begun to cover adjectives, adverbs, prepositions, and all the other little bits of a language. (We’ll get to them soon, I promise.)

The sentence

Obviously, the biggest unit of speech where grammar rules actually come into play is the sentence. And sentences can be divided into a few different parts. Pretty much every one of them, for example, has a verb or verb phrase, which we’ll label V. Transitive sentences also have a subject (S) and an object (O); both of these are typically noun phrases. Intransitives, as you’ll recall, only have one argument, which we’ll also call the subject. There are also oblique phrases, which are sort of like an adverb; these will come into play a bit later, where we’ll label them X, following the convention in WALS Chapter 84. Some other kinds of phrases, like prepositions, quoted speech, and conjunctions, don’t really factor into the main word order, so we’ll look at them as they come up.

Given a basic transitive sentence, then, we have three main parts: S, V, and O. A simple count should show you that there are six possibilities of ordering them, and every one of those six is attested by some natural language in the world. The SVO order (subject-verb-object) is certainly familiar, as it’s the one used in English. SOV shows up in a number of European languages, and it’s also the main order in Japanese. The others will likely sound “off” to you; OSV and VOS, for example, are utterly alien to Western ears, which is why they were used to make Yoda sound alien.

In terms of statistics, SVO and SOV are about even around the world, SOV having a slight edge. The two of them together account for somewhere around 80% of all natural languages. VSO is a distant third, at about 10-15%, but you’ll no doubt recognized some of those: Arabic, Welsh, Irish, and Tagalog, among many others. These three, a total of over 90% or the world’s languages, all have one thing in common: the subject comes before the object.

The rest of the possibilities, where the object comes first, are much rarer, and many of those languages also allow a more common subject-first ordering. Of the three, VOS is the most common in the WALS survey, with such examples as Kiribati and Malagasy. OVS, the mirror image of English, is listed as the main form in eleven languages, including such notables as Hixkaryana and Tuvaluan. OSV, in their survey of over 1,300 languages (about a quarter of the world’s total), only shows up as dominant in Kxoe, Nadëb, Tobati, and Wik Ngathana, and I couldn’t tell you a single thing about any of them.

Conlangs have a slightly different distribution, owing to the artistic differences of their authors. According to CALS, the conlang counterpart to WALS, SVO has a narrow edge over SOV, but VSO is much more common than in the real world. The object-first trio also makes up a bigger percentage, but it’s still vastly outnumbered by the subject-first languages.

It’s certainly possible for a language to have no main word order for its sentences. This tends to be the case (pardon the pun) in languages that have case systems, but it’s also possible in caseless languages. There are even a few languages where there are two major word orders. German is an example of this; it’s normally SVO, but many sentences with more complex verb phrases often push the main verb to the end, effectively becoming SOV.

Now, in intransitive sentences, things can change a little bit. Since there’s no real object, you only have two possibilities: SV and VS. SV, as you might expect, is vastly more popular (about 6:1). But the distinct minority of VS languages also includes many of the ergative languages, which are normally SOV or SVO. Ergative languages often treat the subject of an intransitive verb like the direct object of a transitive one, so a VS order almost makes sense.

Noun phrases

Moving on, we’ll go down a level and look at those subject and object phrases. Since we haven’t quite made it to adjectives and the like, this will necessarily be a bit abstract. In general, though, noun phrases aren’t exactly like sentences. They have a head noun, the main part of the phrase, and a bunch of potential modifiers to that head. These modifiers can go either before or after the head, and their order (relative to each other) is often fixed. For example, English allows a noun phrase like the three big men, with an article, numeral, and an adjective all preceding the noun. No other permutation of these four elements is grammatically correct, though. We can’t say the big three men; the big three is okay, but then three becomes the head noun.

So we’ll have to do things a little different for this section. Instead of showing all the possible orderings of all the different parts of a noun phrase, we’ll look at each one individually.

  • Articles: Articles are a little weird. If they’re separate words, they’re often the first part of a noun phrase. If they’re suffixes or similar, then they’re last. And then you have something like Arabic, where the article is a prefix that attaches to both the nouns and adjectives in a phrase.

  • Adjectives: The topic of the next part of this series, adjectives are the main modifier words. English is actually in a minority by having its adjectives precede nouns, but it’s a sizable minority: about 25%. Noun-adjective languages make up about 60%, and there’s also a group that allows either possibility. But this tends to run in families. All the Germanic languages like adjectives first, but the Romance ones are the other way around.

  • Demonstratives: These are words like this in this man. Here, it’s too close to call. (Seriously, WALS has it as 561-542 in favor of demonstratives after nouns.) Again, though, it’s very much a familial trait. The only following-demonstrative languages in Europe are a few Celtic languages and Basque, which is always the outlier. Most of Southeast Asia, on the other hand, likes their demonstratives to be last.

  • Numerals: The “number” words are another close split, but not quite even. Call it 55-45, with following numerals having the lead. However, you could say this is due to politics. Africa, Asia, and New Guinea, with their vast numbers of languages, tip the scales. Europe, with its large, united, national languages, is universally numerals-first.

  • Genitives: This means any kind of possession, ownership, kinship, and a few other categories, not necessarily the genitive case. Genitives tend to come before nouns, again around 55%. English is among the rarities by having two different versions, one on either side of the divide: Jack’s house, the home of the brave. This one is actually somewhat related to sentence order; VO languages tend to have noun-genitive ordering, while OV languages are more likely to be genitive-first.

  • Relative clauses: We won’t be covering these for a long time, but we can already see where they’ll go. Overwhelmingly, it turns out, they go after the noun. It’s possible to have them before the noun, though, and there’s one example in Europe. (Guess which one.) It’s more common in Asia, except the Middle East. Some Native American languages even do a weird thing where they put the head noun inside the relative clause. You’ll have to look that one up yourself, or wait until the big “relative clauses” post in about three months.

Other phrases

There aren’t too many options for other phrases. Verb phrases have the option of putting adverbs before or after the head verb, the same as adjectives and nouns. Adjectives themselves can be modified, and they then become the head of their own adjective phrase, with its own order.

One case that is interesting is that of prepositions. These are the little words like in or short phrases like in front of, and we’ll see a lot more of them soon. They’re actually the heads of their own type of phrase, known in English as the prepositional phrase. And in English, they precede the rest of that phrase: at the house, in front of the car.

Well, that’s not the only option. You can also put the preposition at the end of its phrase, and this is more common in the world’s languages. Of course, then the name “preposition” doesn’t make much sense, so these are called postpositions. They’re not common in Europe, except in the non-Indo-European parts (Finnish, Hungarian, Estonian, and—naturally—Basque). Most of India likes them, though, as do Iran, Georgia, and Armenia. They’re also popular among the many languages of South America.

Conclusion

Basically, any time you have more than one word, you have word order. Some languages don’t make much of a fuss about it. Cases let you be free in your wording, because it doesn’t matter where an object goes if it always has an accusative suffix on it. French and Spanish allow some adjectives before the noun (e.g., grand prix), even though most of them have to follow it. And poets have made a living breaking the rules. Conlangers, really, aren’t much different.

But rules can be helpful, too. If every sentence ends with a verb, then you always know when you’ve reached the end. (There’s a joke about a German professor in here, but I don’t remember all of it.) For conlangs, word order rules become a kind of template. I know my language is VSO, for example, so I can look at real-world VSO languages for inspiration. Those tend to have prepositions, so my language will, too, because I want it to feel natural. Auxiliary languages are even more in need of hard and fast rules about word order, and they will certainly want to follow the observed connections.

In the next post, we’ll look at how Isian and Ardari put their sentences and phrases together. Then, it’s on to adjectives, the third jewel in the linguistic Triple Crown.

Character alignment

If you’ve ever played or even read about Dungeons & Dragons or similar role-playing games (including derivative RPGs like Pathfinder or even computer games like Nethack), you might have heard of the concept of alignment. It’s a component of a character that, in some cases, can play an important role in defining that character. Depending on the Game Master (GM), alignment can be one more thing to note on a character sheet before forgetting it altogether, or it can be a role-playing straitjacket, a constant presence that urges you towards a particular outcome. Good games, of course, place it somewhere between these two extremes.

The concept also has its uses outside of the particulars of RPGs. Specifically, in the realm of fiction, the notion of alignment can be made to work as an extra “label” for a character. Rather than totally defining the character, pigeonholing him into one of a hew boxes, I find that it works better as a starting point. In a couple of words, we can neatly capture a bit of a character’s essence. It doesn’t always work, and it’s far too coarse for much more than a rough draft, but it can neatly convey the core of a character, giving us a foundation.

First, though, we need to know what alignment actually is. In the “traditional” system, it’s a measure of a character’s nature on two different scales. These each have three possible values; elementary multiplication should tell you that we have nine possibilities. Clearly, this isn’t an exact science, but we don’t need it to be. It’s the first step.

One of the two axes in our alignment graph is the time-honored spectrum of good and evil. A character can be Good, Evil, or Neutral. In a game, these would be quite important, as some magic spells detect Evil or only affect Good characters. Also, some GMs refuse to allow players to play Evil characters. For writing, this distinction by itself matters only in certain kinds of fiction, where “good versus evil” morality is a major theme. Mythic fantasy, for example, is one of these.

The second axis is a little harder to define, even among gamers. The possibilities, again, are threefold: Lawful, Chaotic, or Neutral. Broadly, this is a reflection of a character’s willingness to follow laws, customs, and traditions. In RPGs, it tends to have more severe implications than morality (e.g., D&D barbarians can’t be Lawful), but less severe consequences (few spells, for example, only affect Chaotic characters). In non-gaming fiction, I find the Lawful–Chaotic continuum to be more interesting than the Good–Evil one, but that’s just me.

As I said before, there are nine different alignments. Really, all you do is pick one value from either axis: Lawful Good, Neutral Evil, etc. Each of these affects gameplay and character development, at least if the GM wants it to. And, as it happens, each one covers a nice segment of possible characters in fiction. So, let’s take a look at them.

Lawful Good

We’ll start with Lawful Good (LG). In D&D, paladins must be of this alignment, and “paladin” is a pretty good descriptor of it. Lawful Good is the paragon, the chivalrous knight, the holy saint. It’s Superman. LG characters will be Good with a capital G. They’ll fight evil, then turn the Bad Guys over to the authorities, safe in the knowledge that truth and justice will prevail.

The nicey-niceness of Lawful Good can make for some interesting character dynamics, but they’re almost all centered on situations that force the LG character to make a choice between what is legal and what is morally right. A cop or a knight isn’t supposed to kill innocents, but what happens when inaction causes him to? Is war just, even that waged against evil? Is a mass murderer worth saving? LG, at first, seems one-dimensional; in a way, it is. But there’s definitely a story in there. Something like Isaac Asimov’s “Three Laws of Robotics” works here, as does anything with a strict code of morality and honor.

Some LG characters include Superman, obviously, and Eddard Stark of A Song of Ice and Fire (and look where that got him). Real-world examples are harder to come by; a lot of people think they’re Lawful Good (or they aspire to it), but few can actually uphold the ideal.

Neutral Good

You can be good without being Good, and that’s what this alignment is. Neutral Good (NG) is for those that try their best to do the right thing legally, but who aren’t afraid to take matters into their own hands if necessary (but only then). You’re still a Good Guy, but you don’t keep to the same high standards as Lawful Good, nor do you hold others to those standards.

Neutral Good fits any general “good guys” situation, but it can also be more specific. It’s not the perfect paragon that Lawful Good is. NG characters have flaws. They have suspicions. That makes them feel more “real” than LG white knights. The stories for an NG protagonist are easier to write than those for LG, because there are more possibilities. Any good-and-evil story works, for starters. The old “cop gets fired/taken off the case” also fits Neutral Good.

Truly NG characters are hard to find, but good guys that aren’t obviously Lawful or Chaotic fit right in. Obi-Wan Kenobi is a nice example, as Star Wars places a heavy emphasis on morality. The “everyday heroes” we see on the news are usually NG, too, and that’s a whole class that can work in short stories or a serial drama.

Chaotic Good

I’ll admit, I’m biased. I like Chaotic Good (CG) characters, so I can say the most about them, but I’ll try to restrain myself. CG characters are still good guys. They still fight evil. But they do it alone, following their own moral compass that often—but not always—points towards freedom. If laws get in the way of doing good, then a CG hero ignores them, and he worries about the consequences later.

Chaotic Good is the (supposed) alignment of the vigilante, the friendly rogue, the honorable thief, the freedom fighter working against a tyrannical, oppressive government. It’s the guys that want to do what they believe is right, not what they’re told is right. In fiction, especially modern fantasy and sci-fi, when there are characters that can be described as good, they’re usually Chaotic Good. They’re popular for quite a few reasons: everybody likes the underdog, everyone has an inner rebel, and so on. You have a good guy fighting evil, but also fighting the corruption of The System. The stories practically write themselves.

CG characters are everywhere, especially in movies and TV: Batman is one of the most prominent examples from popular culture of the last decade. But Robin Hood is CG, too. In the real world, CG fairly accurately fits most of the heroes of history, those who chose to do the right thing even knowing what it would cost. (If you’re of a religious bent, you could even make the claim that Jesus was CG. I wouldn’t argue.)

Lawful Neutral

Moving away from the good guys, we come to Lawful Neutral (LN). The best way to describe this alignment, I think, is “order above all”. Following the law (or your code of honor, promises, contracts, etc.) is the most important thing. If others come to harm because of it, that’s not your concern. It’s kind of a cold, calculating style, if you ask me, but there’s good to be had in it, and “the needs of the many outweigh the needs of the few” is completely Lawful Neutral in its sentiment.

LN, in my opinion, is hard to write as a protagonist. Maybe that’s my own Chaotic inclination talking. Still, there are plenty of possibilities. A judge is a perfect example of Lawful Neutral, as are beat cops. (More…experienced cops, as well as most lawyers, probably fall under Lawful Evil.) Political and religious leaders both fall under Lawful Neutral, and offer lots of potential. But I think LN works best as the secondary characters. Not the direct protagonist, but not the antagonists, either.

Lawful Neutral, as I said above, best describes anybody whose purpose is upholding the law without judging it. Those people aren’t likely to be called heroes, but they won’t be villains, either, except in the eyes of anarchists.

True Neutral

The intersection of the two alignment axes is the “Neutral Neutral” point, which is most commonly called True Neutral or simply Neutral (N). Most people, by default, go here. Every child is born Neutral. Every animal incapable of comprehending morality or legality is also True Neutral. But some people are there by choice. Whether they’re amoral, or they strive for total balance, or they’re simply too wishy-washy to take a stand, they stay Neutral.

Neutrality, in and of itself, isn’t that exciting. A double dose can be downright boring. But it works great as a starting point. For an origin story, we can have the protagonist begin as True Neutral, only coming to his final alignment as the story progresses. Characters that choose to be Neutral, on the other hand, are harder to justify. They need a reason, although that itself can be cause for a tale. They can make good “third parties”, too, the alternative to the extremes of Good and Evil. In a particularly dark story, even the best characters might never be more “good” than N.

True Neutral people are everywhere, as the people that have no clear leanings in either direction on either axis. Chosen Neutrals, on the other hand, are a little rarer. It tends to be more common as a quality of a group rather than an individual: Zen Buddhism, Switzerland.

Chaotic Neutral

Seasoned gamers are often wary of Chaotic Neutral (CN), if only because it’s often used as the ultimate “get out of jail free” card of alignment. Some people take CN as saying, “I can do whatever I want.” But that’s not it at all. It’s individualism, freedom above all. Egalitarianism, even anarchy. For Chaotic Neutral, the self rules all. That doesn’t mean you have a license to ignore consequences; on the contrary, CN characters will often run right into them. But they’ll chalk that up as another case of The Man holding them back.

If you don’t consider Chaotic Neutral to be synonymous with Chaotic Stupid, then you have a world of character possibilities. Rebels of all kinds fall under CN. Survivalists fit here, too. Stories with a CN protagonist might be full of reflection, or of fights for freedom. Chaotic Neutral antagonists, by contrast, might stray more into the “do what I want” category. In fiction, the alignment tends to show up more in stories where there isn’t a strong sense of morality, where there are no definite good or bad guys. A dystopic sci-fi novel could easily star a CN protagonist, but a socialist utopia would see them as the villains.

Most of the less…savory sorts of rogues are CN, at least those that aren’t outright evil. Stoners and hippies, anarchists and doomsday preppers, all of these also fit into Chaotic Neutral. As for fictional characters, just about any “anti-hero” works here. The Punisher might be one example.

Lawful Evil

Evil, it might be said, is relative. Lawful Evil (LE) might even be described as contentious. I would personally describe it as tyranny, oppression. The police state in fiction is Lawful Evil, as are the police who uphold it and the politicians who created it. For the LE character, the law is the perfect way to exploit people.

All evil works best for the bad guys, and it takes an amazing writer to pull off an Evil protagonist. LE villains, however, are perfect, especially when the hero is Chaotic Good. Greedy corporations, rogue states, and the Machiavellian schemer are all Lawful Evil, and they all make great bad guys. Like CG, Lawful Evil baddies are downright easy to write, although they’re certainly susceptible to overuse.

LE characters abound, nearly always as antagonists. Almost any “evil empire” of fiction is Lawful Evil. The corrupted churches popular in medieval fantasy fall under this alignment, as well. In reality, too, we can find plenty of LE examples: Hitler, the Inquisition, Dick Cheney, the list goes on.

Neutral Evil

Like Neutral Good, Neutral Evil (NE) fits best into stories where morality is key. But it’s also the best alignment to describe the kind of self-serving evil that marks the sociopath. A character who is NE is probably selfish, certainly not above manipulating others for personal gain, but definitely not insane or destructive. Vindictive, maybe.

Neutral Evil characters tend to fall into a couple of major roles. One is the counterpart to NG: the Bad Guy. This is the type you’ll see in stories of pure good and evil. The second is the true villain, the kind of person who sees everyone around him as a tool to be used and—when no longer required—discarded. It’s an amoral sort of evil, more nuanced than either Lawful or Chaotic, and thus more real. It’s easy to truly hate a Neutral Evil character.

Some of the best antagonists in fiction are NE, but so are some of the most clichéd. The superhero’s nemesis tends to be Neutral Evil, unless he’s a madman or a tyrant; the same is true of the bad guys of action movies. Real-life examples also include many corporate executives (studies claim that as many as 90% of the highest-paid CEOs are sociopaths), quite a few hacking groups (those that are doing it for the money, especially), and likely many of the current Republican presidential candidates (the Democrats tend to be Lawful Evil).

Chaotic Evil

The last of our nine alignments, Chaotic Evil (CE) embraces chaos and madness. It’s the alignment of D&D demons, true, but also psychopaths and terrorists. Pathfinder’s “Strategy Guide” describes CE as “Just wants to watch the world burn”, and that’s a pretty good way of putting it.

For a writer, though, Chaotic Evil is almost a trap. It’s almost too easy. CE characters don’t need motivations, or organization, or even coherent plans. They can act out of impulse, which is certainly interesting, but maybe not the best for characterization. It’s absolutely possible to write a Chaotic Evil villain (though probably impossible to write a believably CE anti-hero), but you have to be careful not to give in to him. You can’t let him take over, because he could do anything. Chaos is inherently unpredictable.

Chaotic Evil is easy to find in fiction. Just look at the Joker, or Jason Voorhees, or every summoned demon and Mad King in fantasy literature. And, unfortunately, it’s far too easy to find CE people in our world’s history: Osama bin Laden, Charles Manson, the Unabomber, and a thousand others along the same lines.

In closing

As I stated above, alignment isn’t the whole of a character. It’s not even a part, really. It’s a guideline, a template to quickly find where a character stands. Saying that a protagonist is Chaotic Good, for instance, is a shorthand way of specifying a number of his qualities. It tells a little about him, his goals, his motivations. It even gives us a hint as to his enemies: Lawful and/or Evil characters and groups, those most distant on either alignment axis.

In some RPGs, acting “out of alignment” is a cardinal sin. It certainly is for player characters like D&D paladins, who have to adhere to a strict moral code. (How strict that code is depends on the GM.) For a fictional character in a story, it’s not so bad, but it can be jarring if it happens suddenly. Given time to develop, on the other hand, it’s a way to show the growth of a character’s morality. Good guys turn bad, lawmen go rogue, but not on a whim.

Again, alignment is not a straitjacket to constrain you, but it can be a writing aid. Sure, it doesn’t fit all sizes. As a lot of gamers will tell you, it’s not even necessary for an RPG. But it’s one more tool at our disposal. This simple three-by-three system lets us visualize, at a glance, a complex web of relationships, and that can be invaluable.

Let’s make a language – Part 5c: Verbs (Ardari)

The nouns of our conlang Ardari, you might recall, were quite complex. So you’ll be happy to know that the verbal morphology, by contrast, is actually fairly simple. That doesn’t mean it’s less capable of expressing the full range of description, nor does it mean that everything is entirely straightforward. It’s just a little easier to figure out than the nouns, that’s all.

The shape of a verb

Where Ardari nouns had three main classes, verbs effectively have two. A verbal stem can end in either a consonant or a vowel, and the vowel stems are typically verbs with an intransitive meaning. This isn’t always true, of course, but it will be a fairly effective rule of thumb. There aren’t any genders or cases to worry about, no definite markers or plurals or anything like that. Just two main classes, and they share the same basic conjugation pattern.

We’ll use the same two example words from last time, but they’ll be the Ardari stem forms brin- “walk” and tum- “eat”. See the hyphens? That means that these aren’t words in their own right. They can’t stand alone, but we’ll see how to turn them into proper words.

Concord

Like Isian and many natural languages, Ardari requires agreement markers on its verbs. They’re a bit odd, though, mainly because there are two sets of them, and they don’t exactly mean what you think. First, let’s take a look at them.

Concord Agent Sing. Agent Pl. Pat. Sing. Pat. Pl.
1st Person -o -on -ma -mi
2nd Person -tya -tyi
3rd Person -a -e -da -dyi

As you can see, the forms change for person and number, but also for “agent” and “patient”. These are more technical terms than the usual “subject” and “object”, and for good reason. They don’t quite match up. For transitive verbs, it’s simple: the subject is the agent and the object is the patient. So we can say konatö fèse tumada “the man eats food”. (Verbs usually come at the end of a sentence in Ardari, by the way.)

Intransitive verbs are a little different. For many of them, the same rule applies: the subject is the agent. This is true for our example: brino “I walk”. But some are different. This class of irregular verbs consists mainly of those with less “active” meanings, like minla- “stand”. For these, the subject takes the patient concord markers: minlama “I stand”. Most of these are verbs just like “stand”, in the sense that they’re kind of “static”. I’ll point out those few that act like this as we meet them, but it’s one more thing to watch out for. Fortunately, they’re pretty easy to spot, as they’re mostly the stems that end in vowels.

Also, there’s a special concord marker -y. This is used in two main places. First, Ardari uses this for “weather” verbs, where English would have a dummy “it” as subject, as in luvy “it’s raining”. Second, any transitive verb can take it to make a passive-like construction: fèsetö tumyd “the food was eaten”, using the preterite tense marker we’ll see in a second.

Tense and aspect

Ardari has a total of seven classes that are effectively combinations of tense and aspect. Each of them (except the present, which is considered the default) has its own suffix, and that suffix goes after the concord markers above. The choices are:

  • -s: A present “progressive” that indicates an ongoing action: fèse tumodas “I am eating food”.

  • -d: The preterite, which is effectively a past tense, but always implies a completed action: fèse tumodad “I ate food”.

  • -dyt: Usually a past tense to reference actions that were ongoing at the moment in question: fèse tumodadyt “I was eating food”.

  • -jan: Implies that an event began in the past: fèsetö tumodajan “I began to eat the food”. (The technical term is inceptive.)

  • -ll: A basic future tense: fèse tumodall “I will eat food”.

  • -lyët: Used for speaking of events that will end in the future: fèsetö tumodalyët “I’m about to finish eating the food”. (Technically known as a cessative.)

Mood markers

In Ardari, a change in mood is handled by a separate set of suffixes that follow the tense markers. These include:

  • -u (-ru when following a vowel): A simple negation marker: brinaru “he doesn’t walk” or brinasu “he isn’t walking”. This can replace the final vowel of most of the other mood markers.

  • -ka (-ga when following voiced consonants): A subjunctive, mostly used for various types of phrases we’ll see later.

  • -afi (-rafi after a vowel): A conditional mood that states that another action depends on this one: brinarafi “if I walk”.

  • -je: An imperative, for giving commands or orders, but also used to express a desire, hope, or even a call to action: tumje “let’s eat”. (When combined with the negative marker, it becomes -ju, and it’s technically called the prohibitive.)

  • -rha: This one’s a little hard to explain, but it implies that the speaker assumes or otherwise doesn’t know for sure that the action has taken place: fèsetö tumadadrha “he ate the food, as far as I know”. (This is very much a rough translation.)

Most of these can be combined. The negative marker works with pretty much all the others, and the “indirect” -rha goes with anything but the imperative. The conditional and subjunctive are mutually exclusive, though, and the imperative doesn’t make sense with anything else. In total, there are 14 sensible combinations:

  • (no suffix): indicative
  • -ka: subjunctive
  • -afi: conditional
  • -je: imperative
  • -u: indicative negative
  • -ku: subjunctive negative
  • -afu: conditional negative
  • -ju: imperative negative (prohibitive)
  • -rha: indicative indirect
  • -karha: subjunctive indirect
  • -afirha: conditional indirect
  • -rhu: indicative indirect negative
  • -karhu: subjunctive indirect negative
  • -afirhu: conditional indirect negative

These 14 moods, combined with the seven tense suffixes and the 31 possibilities for concord give Ardari just over three thousand forms for each verb, but they’re all so regular and predictable that we don’t have to worry about ever memorizing anything like that. Instead, we can just build up a verb piece by piece. That’s the power of the agglutinative style of language.

Vocabulary

That’s pretty much it for the basics of Ardari verbs. There’s a lot more to them, but we’ll cover everything else in a later post. For now, here are some new words, including all the new verbs I’ve used so far. With the exceptions of minla- and luz-, these are all perfectly regular, even the one for “to be”.

  • to be: èll-
  • to become: onyir-
  • to seem: ègr-
  • to stand: minla-
  • to have: per-
  • to come: ton-
  • to go: shin-
  • to drink: kabus-
  • to laugh: jejs-
  • to hold: yfily-
  • to hear: ablon-
  • to wash: oznèr-
  • to cook: lòsty-
  • to speak: sim-
  • to call: qon-
  • to read: proz-
  • to write: farn-
  • to want: majtas-
  • to rain: luz-

Next time

The next post will be about word order, so that we can finally start constructing sentences in our constructed languages. After that will be the third part of the trinity of word categories, the adjective. We’re really starting to flesh out both our conlangs. Pretty soon, we’ll be able to write a whole story in them.

Let’s make a language – Part 5b: Verbs (Isian)

Verbs, as we have learned, are words of action, and we’ll start taking action on them by looking at Isian. As usual, Isian is the simpler of our two conlangs. Its verbs are fairly straightforward, and they shouldn’t be that hard to understand, even for speakers of English and other morphologically lacking languages.

The stem

Like nouns, Isian verbs start with a stem. This can be any verbal morpheme or (as we’ll see later on) a combination of them. For now, we’ll stick with the simplest form: a single morpheme stem representing a “basic” verb.

Most Isian verbal stems end in vowels, though we’ll see that there are a few very important exceptions. Some examples you’ve already met include coto “walk” and hama “eat”, and we’ll use these as our main running examples.

Tense, aspect, and mood

The three main verbal categories of tense, aspect, and mood are often lumped together, mostly because many languages make a mess of them. Isian is little different in this regard. There are four main verbal forms: present tense, past tense, perfect, and subjunctive.

Past and present should be obvious, even if you’re not a linguist. Perfect is a bit like the English pluperfect (“has walked”, “has eaten”); to a first approximation, they’re essentially identical, but we’ll see differences pop up later on. The subjunctive is a bit harder to explain. Fortunately, we won’t be using it much this time around. For now, just know that it can’t be used for the main verb of a sentence.

Now, this doesn’t mean that Isian has no way of talking about events in the future, for instance. But the language doesn’t mark these finer shades of meaning directly on the verb. Instead, it uses auxiliary verbs, much like English. As an example, nos acts as a future tense marker when placed before a verb: nos coto “he will walk”. We’ll see a whole list of the main auxiliaries in a moment, but we need a quick digression first.

Agreement

One wrinkle of Isian verbs is agreement, also called concord. Each Isian verb takes a specific inflectional ending to mark the person and number of its subject. For example, coto can mean “he walks”, but to say “I walk”, we must use coton. There are four different sets of agreement markers, one for each of the three main persons (first, second, and third), while the fourth specifically marks the first-person plural, equivalent to English “we”. (We’ll say that Isian had plurals in the other two persons, but they’re gone now.)

Thus, we have a total of 16 different verbal forms. That’s way more than the maximum five of English (“eat”, “eats”, “ate”, “eaten”, “eating”), but it’s a far cry from the dozens found in Romance languages. It’s a lot, but it’s manageable. And it all fits into a neat table, too:

chere 1st Sg. 1st Pl. 2nd Pers. 3rd Pers.
Present cheren cherema cherel chere
Past chereta cherenda cherelsa cheres
Perfect cherecan cherencan cherecal cherec
Subjunctive cheredi cheredim cherelde chered

Here, I used chere “see”, but the endings are the same for all regular verbs. The first column is all the first-person singular, so its English translations would be “I see”, “I saw”, “I have seen”, and something like “that I see”. (Subjunctives are hard.) The same follows for the other columns: first-person plural is “we”, second is “you”, and third can be “he”, “she”, “it”, or “they”.

Auxiliary verbs

Most of the other tenses and aspects and moods are constructed in Isian by using auxiliaries, much like English “is”, “has”, “will”, etc. We’ve already seen the future tense nos, but there are a few more that we can introduce.

  • an: A negative marker similar to English “no”: an coto “he does not walk”.

  • cal: A mood marker like “should”: cal coto “he should walk”. (Unlike English, Isian can directly use this with the past tense: cal cotos “he should have walked”.)

  • mor: Mood marker that indicates the ability to act: mor coto “he can walk”. (In the past tense, it’s more like “could”.)

  • sum: Indicates a possibility, like “might”: sum coto “he might walk”.

  • ish: Like sum, except that implies “probably not”: ish coto “he might walk (but he likely won’t)”.

Two particular auxiliaries deserve more than a bullet point. First is ade, which actually functions as its own verb, inflecting for person just like any other, but its tenses have different meanings. In the present tense, it marks an “ongoing” aspect, like the English participle: ade coto “he is walking”. (The main verb, of course, can be in any tense: ade cotos “he was walking”, and so on.)

Put ade in the past tense, and it marks the completion of an action: ades coto “he stops walking”. Again, the main verb can change tenses independently.

Using ade in the perfect creates a “past perfect”: adec coto “he had walked”. Here, it doesn’t really matter whether the main verb is in the present, past, or perfect. The meaning is the same.

The other peculiar auxiliary verb in Isian is par, which marks the passive voice. Passives are complex in many languages, but they’re not that hard to figure out here. We can’t use coto here, because it’s intransitive, and you can’t really make intransitive verbs passive, so we’ll use our other example, hama. An active sentence might be hamata e tema “I ate the food”.

To put this in the passive voice, we do three things. First, the old object becomes the subject; the old subject can be ignored or put in as a prepositional phrase, but we haven’t discussed those yet. Second, we add par before the verb. Finally, we change the verb’s conjugation to match its new subject (the former object). Put all this together, and we get the new sentence tema par hamas “the food was eaten”.

Irregular Verbs

Isian does have a few genuinely irregular verbs. One of these, possibly the most important verb in a language, is the “copula” verb, like English’s “to be”. In Isian, it has the infinitive (or dictionary) form tet, but its conjugation looks like this:

tet 1st Sg. 1st Pl. 2nd Pers. 3rd Pers.
Present en tem il e
Past et eda tel tes
Perfect tec tec kel ec
Subjunctive meyn menim med med

Two other, similar verbs that have irregular forms are sedel “to become” and fer “to seem, look”. For these, we have:

sedel 1st Sg. 1st Pl. 2nd Pers. 3rd Pers.
Present seden sema sedil sede
Past sed seda sedel sedes
Perfect selec selec sedel sec
Subjunctive sidi sidim sid sid
fer 1st Sg. 1st Pl. 2nd Pers. 3rd Pers.
Present fen feter fel fe
Past fet feta fil fes
Perfect fen feter fel fe
Subjunctive safen safim safed safer

If you were actually learning Isian as a real language, you’d probably have to memorize these. Our imaginary Isian schoolchildren would, too.

Vocabulary

Here are a few more verbs that you can play around with. All of these are perfectly regular, following the pattern laid out for chere.

  • to have: fana
  • to come: cosa
  • to go: wasa
  • to drink: jesa
  • to laugh: eya
  • to hold: otasi
  • to hear: mawa
  • to wash: hishi
  • to cook: piri
  • to speak: go
  • to call: tede
  • to read: lenira
  • to write: roco
  • to want: doche