"Working within the limitations of the shared world generally made the writing easier, because I didn't have to invent any of the characters or background, which is usually the hardest part"
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Constraint is doing a lot of quiet work here. Williams is talking about shared-world writing the way a seasoned craftsperson talks about a well-stocked workshop: the tools are already laid out, the measurements standardized, the raw materials pre-cut. That setup doesn’t cheapen the work; it changes what kind of work it is. Instead of burning hours inventing a cosmos from scratch, the writer spends them on motion: voice, pacing, plot pressure, the small choices that make a character feel newly alive even when their biography is preloaded.
The intent is disarmingly practical, almost anti-romantic. Fantasy and science fiction culture often fetishize “worldbuilding” as the pinnacle of imagination, a kind of auteur stamp. Williams flips that hierarchy. He frames invention not as the glamorous part, but as “usually the hardest part” - the slog of coherence, backstory, and rules that have to hold up under narrative weight. In a shared world, those constraints aren’t handcuffs; they’re a scaffold. They reduce decision fatigue, enforce consistency, and let the writer draft against a stable set of expectations.
The subtext is also a defense of collaborative, franchise-adjacent storytelling - the kind that’s sometimes dismissed as derivative. Williams suggests the opposite: the limitation can sharpen originality. When everyone shares the same sandbox, creativity moves from making new toys to making the old ones do something surprising. Contextually, coming from a prolific genre professional, it’s a reminder that “easier” doesn’t mean easy; it means the difficulty shifts from invention to execution, where reputations are actually made.
The intent is disarmingly practical, almost anti-romantic. Fantasy and science fiction culture often fetishize “worldbuilding” as the pinnacle of imagination, a kind of auteur stamp. Williams flips that hierarchy. He frames invention not as the glamorous part, but as “usually the hardest part” - the slog of coherence, backstory, and rules that have to hold up under narrative weight. In a shared world, those constraints aren’t handcuffs; they’re a scaffold. They reduce decision fatigue, enforce consistency, and let the writer draft against a stable set of expectations.
The subtext is also a defense of collaborative, franchise-adjacent storytelling - the kind that’s sometimes dismissed as derivative. Williams suggests the opposite: the limitation can sharpen originality. When everyone shares the same sandbox, creativity moves from making new toys to making the old ones do something surprising. Contextually, coming from a prolific genre professional, it’s a reminder that “easier” doesn’t mean easy; it means the difficulty shifts from invention to execution, where reputations are actually made.
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| Topic | Writing |
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