World Building With Clothes

Clothes make the man. They also define a society and an environment. Just watch any montage of people through the ages to see this effect. The 1982 movie, Best Little Whorehouse in Texas, begins with about ten minutes of the Chicken Ranch’s history from the late 1800s to the late 1970s. The audience sees not only the change in intimate apparel but also skirt lengths, cloth patterns and colors, furniture, hairstyles and military uniforms. It’s a fun segment that offers information about each period.

Clothes are important in world building whether you are doing a dated musical, a thriller, science fiction, or fantasy. How the outfits work with the environment is easy. Heavy furs belong to winter fantasy, not desert Conan stories unless they are too primitive to weave fabric. However, how does the apparel demonstrate the society? The times? What is the change of dressage if the novel goes over ten years?

Metropolis

The Metropolis Robot

 

Mary Robinette Kowal (author of Ghost Talkers) gave a wonderful presentation at Adler After Dark Geek Chic V (Chicago) about how science fiction affects modern fashion choices and vice versa. She worked with old movies such as Metropolis and its effects on future looks such as the invention of go-go boots. If you have doubts about this idea, consider the thought that bow ties are making a comeback mostly because of Dr. Who’s Matt Smith. Luckily, the fez hat did not.

She made a side point that really caught my attention. She stated, the more it cost to make something, the more people will use it in high-end clothing as a status symbol. Think about the effort it takes to hand sew pearls into a costume. In addition, lace was hand-tied or tatted into complex, beautiful designs in the early 1900s. Society dresses used a lot of it for accenting. Nowadays, lace is manufactured and less of a financial indicator. It is not seen as often on high society designer pieces.

This thought rode with me all through the night and into the next day. In writing my novel (under construction), Riding the Comet, I thought about clothes in terms of durability, functionality, and practicality. They did nothing to indicate status. Everyone pretty much looked the same. The social-economic differences were a huge factor in the plot since the classes were sharply divide between the corporate townies and the impoverished asteroid dwellers. I tried to show that divide with different technology levels but ignored the obvious and visual tool of fashion. Her comment pointed out a huge gap in my worldview and I’ve since moved to correct it.

So when you are building your world, consider this. The differences between king and commoner are easy. However, the readers should also find subtle differences between lord and middle class, merchant and adventurer, or even worker and beggar. Don’t make it a case of one wearing rags and the other doesn’t. Make your world rich with the differences in details without overloading or slowing down your plot.

Passengers.png

These people could be walking down NYC rather than in a space ship going to a colony world (Passengers 2016)

Also remember that clothes change over time One glaring error in the movie Passengers is that the people look just like today. Yet the plot was set in the far future. Surely the designs changed in several hundred years. Although I agree the clothes don’t need to look weird. That would be distracting. But they should not look like today’s fashion because that lacks imagination and also is confusing for the audience trying to figure out the time.

Fashion can also represent a sense of rebellion or change. In Terry Pratchett’s Tiffany Aching series, which are a part of the Discworld universe, Tiffany evolves into being her land’s witch but rejects the standard uniform of the black dress and pointed hat. This action serves as a defining characteristic, making her stand out as a free thinker among the other initiates.

300 boy

In this scene from the 300, Leonidas’s wolf skin is symbolic of his ascension to manhood and the crown.

So think about what your characters wear. What affect are you trying to bring out? Sexy, relaxed, functional or something else? Does it represent the character’s favorite color? How does their choice of apparel fit into society and their job? Leather and furs are dumb in a hot environment if linen is available. Synthetics don’t breathe well but add shine and bright colors. High heels are not functional footgear if traipsing across a muddy jungle (as seen in Jurassic World) no matter how determined the character is.

Have your clothes make sense but don’t overload the reader with details at every wardrobe change. Give the audience just enough description to let their imagination fill in the rest. Yet when needed, let it also create a statement or act as a symbol. This adds layers of complexity to your work that readers will appreciate. Therefore, use the clothes to make the man and the world together.

 

Sparrow Hill Road: Bringing Traveling Ghosts to Life

I love a good ghost story. Not the kind that jumps out and shouts “boo!” or the Halloween horror type with ocher dripping eyes, but the true clinging to the edges of life through time tale. The Sparrow Hill Road by Seanan McGuire is that kind of book.

Many spirit-oriented narratives tend to follow one of a number of basic themes. For instance, many cultures have a Weeping Woman specter, also called La Llorona. It’s a famous legend of spurned love and the watery deaths of children. Another archetype features the sounds of a crying child who now can’t move on or is searching for their parent.

In McGuire’s book, Rose Marshall is the Prom Date ghost or truck stop ghost. The version of the story that I’m familiar is where she walks along a road in a fancy dress. Guys give her a ride and loan her a coat against the cold. When they go back to where they drop her off, they find their coat over a gravestone.

Rose is a pawn of the road, which itself seems like a sentient being. It places her where she needs to be at any given time. Sometimes she helps a driver cross the barrier of life and death on his way to the afterlife. Other times she tries her best to prevent a death by changing the driver’s route or talking some sense into a teenage boy. However, she has her own destiny to fulfill, which involves her death in 1952, a car accident caused by a soul-collecting villain.

Each chapter in the book is a short story in Rose’s afterlife dealing in some way with the themes mentioned above or her interactions with other ghost road citizens. Each section could stand independently but an overarching plot starts to appear after the first few stores as Rose starts to understand her own power and the purpose of her haunting.

I enjoyed the engrossing spectral world created by McGuire. The writing was engaging, immersing the reader into different levels of afterlife America pulsing below the living dimension: the twilight place crossed by road witches and where haunted cars roll on forever. Even the highway itself had a vital presence brought alive by the heartbeat rhythm of those travelling across its cement. The description of the spirit of the road became increasingly vivid throughout the book until it was a character in of itself.

The protagonist has great depth, which the writer parcels out one nugget at a time. She is cynical from too many encounters and fearful, which makes her hard to like at first. She is also a sad heroine but always pressed with a sense of duty and hope. That sense of duty to save another life is ultimately what motivates her and makes her likeable.

The tales are imaginative and different from any other paranormal books I’ve read so far. Although the book seemed a little long, I’d be hard pressed to pick out any specific story as nonessential. Some were endings in themselves while others operated on a continuing timeline. However, I found the ending a bit disappointing. I won’t describe it so I don’t spoil it for other readers, but I felt almost cheated. The book builds up to a critical confrontation to end in a way that lacked resolution or justice. One argument could be that the author intended this novel as a series and therefore left things open. However, the main story felt a little too incomplete.

All in all, Sparrow Hill Road is a good book that will keep you thinking long after you’ve finished it. Rose’s story will creep up in your mind when you hear that next haunted hitchhiker or lost soul legend, giving those stories more possible complexity and profoundness than they ever had before.