ALL societies have an overarching power structure of some sort because someone has to be the leader. Similarly, all smaller segments within societies, from families to business, to churches, to governments have organized leadership structures, even if they aren’t formally described as such.
Power structure: the hierarchy that encompasses the most powerful people in an organization. An overall system of influence between individuals within any selected group of people.
→ →Assistant(s) to the Assistant Leader(s)
→ → → Middle-Level Clawing-their-way-to-Assistant Assistants
→ → → →Lower-Level-Hoping-to Survive-to-Retirement Assistants
→ → → → →Peons-Who-Do-the-Actual-Work-But-Don’t-Get-to-be-Called-Assistants
Religion rarely is a component of sci-fi but often figures prominently in fantasy work.
This is because a common way to train magic-gifted people is by apprenticeships, religious orders, or a school of some sort.
If you are taking the religious route, how important is the actual worship of the deity(s) in your tale?
Is there one god/goddess or many?
Benevolent or malevolent?
In many historical societies in this world, the Church/Temple was the governing power. The head of the religion was the ruler, and the higher one rose within the religious organization, the more power one had.
SO, in your world, how important is religion to your characters’ journey?
To convey that information logically and without contradictions, you must have an idea of how things work in the cities and towns, the segments of society outside the church. Merchants, priests, teachers, healers, thieves—each occupation has a place in the hierarchy.
- Is religion central to the governance of the society, or is it a peripheral, perhaps nonexistent thing?
- What segment of society outside the church has the power and privilege, and who is the underclass?
- How does the underclass live, and what is the role of religion in keeping them in their place?
- How is your society divided? Who has the wealth?
- Who has the power? Men, women—or is it a society based on mutual respect? Is one race more entitled than another?
- What passes for morality? Is sex before marriage taboo? What constitutes murder, and how is it viewed? You only need to worry about the moral dilemmas that come into your story.
- If a character goes against society’s unwritten or moral laws, what are the consequences?
If the worship of a deity is a key part of your tale, you must design the entire theology. You must know the rituals and know how their deity holds their hearts. You must know how that deity considers his/her worshipers.
- What sort of political power does the priestly class wield?
- What is the internal hierarchy of the priesthood?
- Who has the power?
- Is this religion a benevolent entity or all-powerful, demanding, harsh?
- How does the priesthood interact with the community?
- Who can join the priesthood?
- Do people want to join the priesthood, or do they fear it? How is the priesthood trained?
In the Tower of Bones series, the overarching government in Neveyah is the Temple of Aeos, which is really a large commune run by mages. Mage-gifted children must be trained, and a school exists for that purpose. Aeos is the Goddess of Hearth and Home, so her style is a gentler, community based kind of religion.
Tauron is the Bull God, who rules the world of Serende, but who wants to be the only god in the universe. Hoping to force Aeos to become his wife, Tauron has attacked and imprisoned Aeos’s husband, the Mountain God Ariend, and has taken half of Ariend’s world. In Tauron’s world, only the strongest are worthy of survival.
Aeos managed to find her husband’s prison and reclaimed half his world, but she can’t undo another god’s work. Thus, her husband’s prison remains a prize in the ongoing war of the gods.
These actions of the deities brought civilization to its knees on the three worlds. At the time of the Tower of Bones series, the worlds have mostly recovered.
When I created the religious power-structure in the Tower of Bones series, the opportunities for creating tension within the story grew exponentially.
As I said, the underlying premise of the story is that the gods are at war. But the imprisonment of Ariend caused the Universe to bar the deities from acting directly against each other ever again.
Thus, their battles are fought through their people, their clergy who are gifted with the ability to use magic.
That meant I had two radically different religions to create, that of Aeos, and that of Tauron. Highly structured religion is central to my characters’ worlds of Neveyah and Serende. Their places in their respective societies revolves around their positions within those hierarchies.
But what if your work has no religious element?
On Monday, we will explore creating political power structures.
Credits and Attributions:
Wikimedia Commons contributors, “File:Carl Pippich Karlskirche Wien.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Carl_Pippich_Karlskirche_Wien.jpg&oldid=234767606 (accessed May 29, 2019).
Wikimedia Commons contributors, “File:Dommersen Gothic cathedral in a medieval city.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Dommersen_Gothic_cathedral_in_a_medieval_city.jpg&oldid=319795786 (accessed May 29, 2019).
Wikimedia Commons contributors, “File:Cole Thomas The Return 1837.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Cole_Thomas_The_Return_1837.jpg&oldid=301862305 (accessed May 29, 2019).