“Lawrence of Arabia” and Worldbuilding

Stephen Spielberg and Ridley Scott, among others, have called the 1962 movie their “favorite film.” Freddie Young’s cinematography is remarkable when viewed in its intended 70mm format on a big screen. However, although based on historical events and personalities, “Lawrence” can teach SFF writers a lot about worldbuilding.

    First, it’s essential to acknowledge the troubling Hollywood practice of casting actors like Alec Guinness, Anthony Quinn, and Jose Ferrer to play Arabic and Turkish principals. Omar Sharif, an Egyptian, portrayed Sherif Ali because French heartthrob Alain Delon turned the part down. Second, like many historical movies, “Lawrence of Arabia’ took plenty of liberties with facts about the real-life British officer. For example, a dramatic raid led by the Main Character occurred before T.E. Lawrence was posted to assess the prospects of Prince Faisal’s revolt against the Turks.

    For Sci-Fi and Fantasy writers, the Desert locations provide an excellent example of how a story’s setting can almost be seen as a character. Lawrence immerses himself in desert culture and eagerly adapts to the environment. Early on, after Sherif Ali kills the British officer’s guide for drinking from a well without permission, Lawrence boldly leads a contingent of Arab warriors across the Nefud Desert, traveling without rest to reach water sources on the other side. Lawrence barely survives the journey. His courage in making the crossing and the way he goes back for a man who fell off his camel from exhaustion earn the respect of Faisal’s warriors. Ultimately, they willingly follow the British soldier against the Turkish Empire.

    The way Lawrence takes on the attire and lifestyle of his troops contrasts with the British diplomats and commanders. They largely confine themselves to the cities, where water is plentiful, and the architecture is constructed to offset the blazing sun’s effects. To the viewer, the contrast of how the English command sets itself apart from the reality of Bedouins’ lives reflects how the Allied powers eventually carved up the remnants of the Ottoman domain without regard to the desires of the people who helped defeat the Turks. This dichotomy—outsiders who misunderstand, even fear, the places they journey— occurs in many SFF works, such as LeGuin’s The Word For World Is Forest. 

    “Show, don’t tell” is a mantra for writers in every genre. Where a setting has been fully developed, even if not extensively shared with the reader, an author can skillfully convey plenty about their characters via what readers vicariously experience. The drama increases when the environment endangers our hero, even in the absence of the antagonist.

      Much of the “Lawrence of Arabia” plot and how the characters are portrayed hardly adheres to historical reality. The film benefits from the fact most viewers are unfamiliar with early 20th-century Middle Eastern history. Few people watching would object, “Hold on! Weren’t the Americans involved in World War I by then?”

  An advantage of writing SFF is that we have created our story’s history. Still, we must remain aware of basic physical facts. If human beings could die of dehydration crossing a desert, a reader will become distracted if the MC is merely inconvenienced, rather than imperiled, by a lack of water.

    If you’re unfamiliar with “Lawrence of Arabia,” you should look for it on Amazon Video, AMC On Demand, or other streaming services. Pay close attention to how the desert affects—and defines—the major characters.