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?


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.


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.


Maintaining Motivational Belief.

How do you keep going after so many rejections?

Looking at the last year, my family had spent a lot on my career: three large conferences to be exact, all with interactions with agents. So far, I had a lot of miles under my belt but was still receiving the nearly meaningless “just not right for us” rejection letter, if I heard anything at all. To make matters worse, we were starting to feel the pinch from the high expenses.


In December of 2014, my husband had declared that this was to be the year that I moved “further in my writing career,” for whatever that meant. He planned on heavily investing in my work. I had one book on the shelf, three stories in small anthologies, and a manuscript that I had shopped around on and off again for about four years. We used the term “further” rather than “success” or “published” because we both knew that “success” could mean several different ideas and “published” takes more than a year in the path I’ve taken. After all, I had already been shipping query letters off and re-editing (yet again) my novel.

Based on information I heard at the 2014 Thrillerfest, I spent the winter getting my social media started, organizing a speculative writer’s group in Northwest Indiana, and developing the third novel. Success came in small measures. I attended multiple book signings for my old book, received great reviews on my pitch, opening, and query letter, and sent out new stories to more anthologies.

However, by August the rejection letters from agents and editors had not changed, when they showed up at all. I felt like “just not right for us” was becoming my mantra. I wanted to scream, “Just tell me what is wrong and I’ll fix it!” to the silence that greeted me each day. Depression settled in. I was never going to be a career author. I became too afraid to write more and worried about throwing good money after bad. I even had stalled out on the query letters.

 The Opportunity

My husband didn’t agree. When I showed him the Writer’s Digest announcement about agent reviews of writers’ first ten pages, he didn’t waste a moment. “Sign up,” he said.

“But the money…?”

“Don’t worry about that.”

Hard to do when you are facing huge repair bills on the house. However, I followed his advice. The results: glorious. The Agent Boot Camp told me exactly what I needed to know to improve my work and why I was getting the form rejections. Among a few other minor issues, I had placed it in the wrong genre. The agent loved my character and the setting. Upon reading those words, the sunshine burned through the ego-killing gloom in my attitude. I began believing in myself again.

Moral of the story: continuously believing in yourself is hard work. Everyone has moments or even months of doubt. For those times, turn to the one person who believes

Flowers in a garden

Here is a bit of color from past springs to help us get through this winter

in you no matter what. Give them the whip, cattle prod, guilt knife, pocketbook, or whatever they need to keep you moving forward.

Then let them use it. You won’t regret it.


As ever, happy writing!