There is an active fantasy map drawing community over on Reddit in /r/Worldbuilding, Maps range from truly amazing... to quite awful. https://www.reddit.com/r/worldbuilding/search?q=flair_name%3...
How Writers Map Their Imaginary Worlds
21–30 of 40 posts
Re: How Writers Map Their Imaginary Worlds
#22Earlier quoted context omitted.
That's two rivers merging, not splitting.
Not in terms of the "guide" linked to. It looks at rivers as something creeping up from the ocean to higher lands. It's a perspective where a river travels upstream, even if it flows downstream, if that makes sense. The author is saying two streams travelling up never split, only merge. I'm saying they do split [0]. An upstream split is a downstream merge. [0] https://www.openstreetmap.org/#map=15/45.7293/4.8128
Re: How Writers Map Their Imaginary Worlds
#23Earlier quoted context omitted.
Yeah, that's a weird thing to be wrong about. There's an abundance of cities built on where multiple rivers meet.
Plenty cities are located where rivers meet, however I'm struggling to think of any where a major river splits?
The Orinoco River and Rio Negro are connected via a distributary, although this is the upper reaches of both rivers.
Deltas are commonly very large and involve several streams. The mouth of the Amazon River is more or less 100 miles distant. And the Brahamaputra and Ganges river delta involves 100s of channels that more or less crisscoss the entirety of Bangladesh.
Re: How Writers Map Their Imaginary Worlds
#24Okay, here's my excuse to vent a personal pet peeves. :-) If you're going to publish a map of your imaginary land, map out the watersheds and make sure they make sense. You don't have to include those details in the final map, but they should inform the final map. Real rivers go somewhere. They don't just stop in the middle of nowhere.
Actually, ignoring the issue of whether Middle Earth was geologically feasible, Tolkien went to great lengths to make sure that the story was consistent with the geography, e.g. in terms of making sure character times and locations were synchronised across the many plot strands. The LOTR map was specifically created to help him keep track of it.
[0] https://www.tor.com/2017/08/01/tolkiens-map-and-the-messed-u...
Re: How Writers Map Their Imaginary Worlds
#25Okay, here's my excuse to vent a personal pet peeves. :-) If you're going to publish a map of your imaginary land, map out the watersheds and make sure they make sense. You don't have to include those details in the final map, but they should inform the final map. Real rivers go somewhere. They don't just stop in the middle of nowhere.
And mountains. With right angles, like those in Middle Earth [0]. Although to be fair to Tolkien, Ilúvatar probably wasn't bothered about credible plate tectonics. Actually, ignoring the issue of whether Middle Earth was geologically feasible, Tolkien went to great lengths to make sure that the story was consistent with the geography, e.g. in terms of making sure character times and locations were synchronised across…
Re: How Writers Map Their Imaginary Worlds
#26Okay, here's my excuse to vent a personal pet peeves. :-) If you're going to publish a map of your imaginary land, map out the watersheds and make sure they make sense. You don't have to include those details in the final map, but they should inform the final map. Real rivers go somewhere. They don't just stop in the middle of nowhere.
And mountains. With right angles, like those in Middle Earth [0]. Although to be fair to Tolkien, Ilúvatar probably wasn't bothered about credible plate tectonics. Actually, ignoring the issue of whether Middle Earth was geologically feasible, Tolkien went to great lengths to make sure that the story was consistent with the geography, e.g. in terms of making sure character times and locations were synchronised across…
Re: How Writers Map Their Imaginary Worlds
#27Re: How Writers Map Their Imaginary Worlds
#28Earlier quoted context omitted.
And mountains. With right angles, like those in Middle Earth [0]. Although to be fair to Tolkien, Ilúvatar probably wasn't bothered about credible plate tectonics. Actually, ignoring the issue of whether Middle Earth was geologically feasible, Tolkien went to great lengths to make sure that the story was consistent with the geography, e.g. in terms of making sure character times and locations were synchronised across…
Plate tectonics wasn't a generally accepted theory until well after Tolkien made those maps, anyway.
Re: How Writers Map Their Imaginary Worlds
#29Earlier quoted context omitted.
And mountains. With right angles, like those in Middle Earth [0]. Although to be fair to Tolkien, Ilúvatar probably wasn't bothered about credible plate tectonics. Actually, ignoring the issue of whether Middle Earth was geologically feasible, Tolkien went to great lengths to make sure that the story was consistent with the geography, e.g. in terms of making sure character times and locations were synchronised across…
Plate tectonics wasn't a generally accepted theory until well after Tolkien made those maps, anyway.
The creator, Eru / Ilúvatar creates a great theme and the Ainur (spirits) are then invited to create a music from it. The evil Morgoth (Sauron's boss) sows discord by breaking Eru's harmony. Eru then stops the music and the various spirits manifest in the world (Arda) created from it. The world is initially illuminated by stars and then the light from two great trees. Which Morgoth destroys, although their light bearing fruit are used to create the Sun and the Moon. The Valar (the most powerful good Ainur) create the westerly island Valinor, which (after a lot of misery which forms the main subject of the Silmarillion) Ilúvatar eventually makes inaccessible by sending a great wave, changing the shape of all the lands of Middle-earth.
Hence my comment that plate tectonics (or whatever geological processes were understood in the early 20th C) wasn't an overarching concern for Tolkien. But once he'd made this world, he made sure that the LOTR characters would see the same phase of the moon at their respective parts of the story.