Worldbuilding has always been one of my favorite parts of the writing process. Maybe it’s the historian in me—there’s something irresistible about diving into the customs, beliefs, and quirks of other cultures. I love researching the past, borrowing inspiration from real-world societies, and reimagining it all into something new.
People often ask me where I get my ideas. The truth? I usually start with a known culture, take a few key elements, adapt others, and then weave them into a world that feels fresh and alive.
Take Ymittos, the primary setting in my Royal Mages series. It’s heavily inspired by ancient Greece. You’ll see it in the philosophy, the arts, the theater references—and yes, definitely in the Mediterranean cuisine. Many of the names are Greek in origin: some kept in their original form, others altered to better fit the world I envisioned. The fashion follows suit, with noble characters dressed in flowing white tunics or peplos, and wearing decorated sandals. Physically, most Ymittosians are olive-skinned, with dark hair and eyes.
Then there’s Cinar, a sprawling empire with much more diversity in appearance and dress. Its central regions, where the character Derya comes from, resemble Ymittos in some ways—she shares similar coloring with Eliana, though her skin is slightly lighter and her eyes are hazel. Cinar draws partial inspiration from the Byzantine Empire, with its love for grand circuses, performers, and a surprising tolerance for diverse philosophies and beliefs.
Malkh, or Chorokha, is another story altogether. For this region, I delved into the lesser-known cultures of the Caucasus—places like Ossetia, Circassia, and Abkhazia. A key influence was Tales of the Narts, (affiliate link) a collection of myths and legends about a heroic, semi-divine people known for cattle raiding and epic adventures. One recurring figure is Shirdon, a male trickster. In my world, Shirdon becomes Shirdona—a bold, clever woman who plays a pivotal role in the story.
The Chorokhese, like their neighbors, tend to be olive-skinned with dark hair, adding a layer of visual continuity while celebrating cultural diversity.
And finally, we have the northern nations—Rorvik and Veleti. These are loosely modeled on Viking society, both in appearance and cultural tone. Their customs, clothing, and fierce independence provide a striking contrast to the other regions of the world.
I wove each of these lands into a tapestry using threads of history, legend, and imagination. That’s the magic of worldbuilding—it’s not about creating something out of nothing, but about reinterpreting what’s already there in a way that feels authentic, surprising, and real.