Crafting a Believable Fictional Religion for Fantasy Worlds
According to Sydney Craven, A Song of Ice and Fire by George R. R. Martin is a “product of the twentieth and twenty-first century” that aims to “represent the real human problems of society” that remain unchanged from medieval times (6). One way George R. R. Martin achieves this effect is through the implementation of fictional religions within the narrative of A Song of Ice and Fire. Martin uses fictional religions to shape the characters' identities, worldview, and sense of morality, and directly contributes to the conflict of the plot. The success of the Game of Thrones book series, along with its television counterpart (59 Emmy awards), can attest to the importance that fantasy religions have on immersive worldbuilding in fantasy narratives. Fantasy authors create religious systems that add to the immersive experience of the fantasy work by drawing from real-world religions and mythology, embedding religion into everyday life, connecting religion to politics and power, allowing diversity of beliefs, and making the religion affect the plot and characters within the fantasy narrative.
Religion is integral and crucial to human identity (Barlament). Religious beliefs are flexible, not concrete or rigid. The focus of lived religion is on everyday life, on the real-life issues that concern humans the most, which means they oscillate depending on the specific situation (Feldt 568). Religion influences laws, politics, social hierarchy, traditions, rituals, and personal motivations. Some fantasy authors may overlook religion when worldbuilding and creating the fantasy world, not because it is not important, but because it is one of the most difficult aspects of worldbuilding to develop. For a writer to make their fictional religion seem authentic to the reader, they must influence these same facets within the fantasy world.
Technique #1: Drawing from Real Religions and Mythology
According to Laura Feldt, “religion, myth, and magic” can be “combined, rewritten, and reinterpreted”(567). Fantasy religion is commonly pulled from familiar religions such as Greek mythology, Celtic/Norse mythology, the Babylonians, Assyrians, or based on pantheons that model the Roman and Greek pantheons (Fagan; Ott). When the reader is familiar with the elements of a religion, this aids in the authenticity of the religion and ultimately the believability. Common elements from real-world religions and mythology include creation myths, sacred texts, priesthoods, and moral codes. Familiarity makes fictional religions more believable to the reader. For example, Brandon Sanderson bases the religion in his fantasy novel, The Stormlight Archives, on his Mormon beliefs. Readers may not even realize when they are picking up a fantasy novel that what they are reading has been inspired by a real religion. According to Liz Busby, “Sanderson’s Stormlight Archive does not just incidentally parallel many aspects of the Mormon theory of salvation; rather, the series is largely about these concerns” (173). Juraj Gerovac argues that religion can be foundational for the creation of a new fictional universe (18). Sanderson bases his fictional religions on elements drawn from real-world religions. This makes his fantasy world more internally consistent and believable. Before an author begins crafting their own fictional religion, they should consider researching real-world religions and mythologies to better understand what elements contribute to a working religion.
Technique #2: Embedding Religion into Everyday Life
Gerovac contends that authors base their fictional religions on familiar religious figures or religious ideas that stem from “systems of faith and worship” as inspiration for fictional worlds (13). A fictional religion feels more authentic when ordinary people practice it, rather than merely discussing it. The fictional religion should be embedded in everyday life. This includes but is certainly not limited to festivals, marriage customs, funeral rites, oaths and sayings, and clothing and symbols. For example, the Starks from A Song of Ice and Fire can be seen frequently in the godswood, as it is typically where “worshipers of the Old Gods pray for help and guidance” (Craven 16). The act of going to the godswood for guidance is a vital part of the Starks' lives, because it is where they receive guidance in troubled times. The religion of Old gods is unique in that it is practiced privately and personally. When members of the Stark family venture to the Godswood for guidance, they do so alone. Furthermore, “There is also a face carved into every weirwood tree; the belief is that the gods are watching them through these faces” (14). The faces carved into the weirwood tree hold symbolic importance, as it reminds them that they are not alone, and that there are higher powers at work in their lives. For a fictional religion to be authentic and more than just ornamental, it must play a direct and important part in the lives of the characters who practice it. Authors should consider how their characters practice religion both publicly and privately, and what specific customs the followers practice.
Technique #3: Connecting Religion to Politics and Power
Fagan observes that politics is a crucial part of religion; religion has power over people, and politics is intrinsically influenced by religion. When crafting a fictional religion, fantasy authors must determine where religious authority comes from. It is important to consider factors such as state religions as well. Is power centered in a church, or organized outside of the state? For example, in A Song of Ice and Fire, “the Seven are often worshiped in great septs that have been built within the walls of most highborn families living in Westeros” (Craven 30). “Faith of the Seven” is a religious “bureaucratic organization” overseen by “corrupt” individuals (Craven 40). The Faith of the Seven is organized by the state; there is a “High Septon” who forms the hierarchy of the religion, and monks and nuns, as well as ordinary people, follow the “High Septon” (40). Religion connects to politics as well through religious conflict. Fantasy authors must decide where the religious conflict stems from, if they decide to include it at all. These can stem from heresy and reform movements of characters or groups who do not conform to the dominant religion, for instance. Lastly, religion is a source of legitimacy. As in real life, religion is used to legitimize a ruler by claiming they are ordained by god. In the same vein, fictional religion can also be used to legitimize the ruling or dominant power. By connecting religion to politics and power, a fantasy religion gains authenticity.
Technique #4: Allowing for Diversity of Belief
Religion develops and grows over time (Ott).Barlamet and Ott contend that as societies develop and change across time, what is important to a society also changes; this change affects religious beliefs. Furthermore, Barlamet argues that religions should be molded by the characters who practice them; religions change over time as societies change, producing subtle or even great differences within the same religion. Feldt concurs with Barlamet that religious beliefs shift based on “a specific situation” and evolve due to “the focus on everyday concerns” such as “health, wealth, and entertainment” (568). Inconsistencies are beneficial to a fictional religion because they add an air of mystery, which piques readers’ curiosity. Dieties are dynamic, oftentimes walking metaphors or allegories (Ott). Therefore, gods need to reflect the values of the culture that practices it. As those values change, elements of the deity should reflect those societal changes. For example, the dynamic shift of religion as society changes can be seen in A Song of Ice and Fire. Craven observes that:
This concept of the Sept and Gothic Cathedrals directly contrasts the nature of the Old Gods and their godswood. While the believers in the Old Gods use nature itself to worship their creator, those believing in the Seven use materials they have manipulated from nature to create something of great magnitude and beauty. (32)
As society changed to value power over a connection with nature, a new religion emerged that reflected these values. Authors should consider the subtle differences in traditions, as well as practicing the fictional religion that differs from the past. These nuances add believability.
Technique #5: Making Religion Affect the Plot and Characters
According to Nicholas C. Rossis, grounding character motivations by a practical worldview creates characters who leave a “lasting impression” on the readers. Characters appear more believable when their actions consistently reflect their worldview, and even their errors seem logical when rooted in an established system of beliefs (Rossis). An example of this is shown in Sanderson’s The Stormlight Archive, which makes “the magic system dependent on the characters’ devotion to principles, resulting in a plot that turns largely on when those morals are challenged…” (Busy 170). Another way an author incorporates religious conflict and diversity is through dialogue. Dialogue provides an effective means of revealing a character's worldview, as conversations between individuals from different backgrounds can naturally expose their differing philosophies (Rossis). The characters’ beliefs should affect how they see the world, which in turn will affect their motivations, decisions, and reactions. Not all religious conflict needs a major battle or war to move the plot forward. A good fictional religion should advance the plot, because it influences the choices characters make.
Applying These Techniques: Building an Original Fantasy Religion
Empress of Wings & Talons centers on Dahlia, a young woman from the conquered kingdom of Ashar, now living within the enemy lands of the Valorenian Empire with her brother, Falcon, leader of the Shadow Guard, a resistance group, and Tyr, the heir to the imperial throne. When Dahlia goes undercover as a candidate in the traditional selection process for Tyr’s future bride, she enters a world of political intrigue, long-held secrets, and a hidden prophecy that will test her loyalty and impact the future of the realm. My novel features two opposing fictional religions that are central to the plot. Below are two chapter excerpts featuring the fictional religions of my fantasy story. The first excerpt is from the opening chapter of the novel, which introduces some of the main characters, the setting, and the Ashari religion. The second excerpt happens halfway through the novel, when Prince Tyr is coronated as the Dragon Emperor, following in the tradition of his late father.
Excerpt #1:
The moonlight filtered in through the rafters. Streaks of moonbeams glittered around Dahlia’s head, as if forming a silver halo around her. Dahlia sighed deeply, then pursed her plump lips together. Her hands were folded piously in front of her chest. A string of white pearls interlaced her fingers. She whispered breathless prayers to Ashara, the Moon Goddess. With a hopeful heart, she asked for guidance and protection for her older brother, Falcon, and her friends, but most importantly, she prayed for the Ashari people who were suffering around her. The door burst open, startling Dahlia. She instinctively stuffed the pearls in the pocket of her petticoat. Worshipping Ashara was forbidden ever since the Empire of Valoren conquered the kingdom of Ashar.
Dahlia breathed a sigh of relief when she recognized her brother’s eyes underneath his black hooded cloak. “Praying?”
Dahlia nodded her head as he shut the rickety wooden door. “It’s a full moon tonight,” she whispered, always cautious not to be overheard by the constantly patrolling Valor Guard. Worship of the moon goddess Ashara was forbidden in Valoren. Falcon smirked at her, understanding alight in his violet eyes. It was he who taught Dahlia to pray, just like their parents had taught Falcon before they perished. It was one of the only things the siblings had left to remember them by, besides each other.
Falcon threw off his cloak, set it on his favorite chair, then slouched down to sit. He looked weary, but there was something more in his eyes. Dahlia stood, then made her way to the decrepit firepit in the center of the one-bedroom hut. A pot of tea had finished boiling. She poured a cup, then handed it to her brother. “Thank you”, he murmured.
“Are you going to tell me what’s wrong?”
Falcon took a long sip of the steaming tea. “I was out, scavenging for food-”
“-You mean stealing,” Dahlia interjected.
His violet eyes twinkled at her. “Semantics.”
Dahlia rolled her eyes in response. “There was chaos in the Capitol. I had to leave before I was able to scavenge anything.”
Dahlia’s black eyebrows scrunched together as curiosity took hold of her. Her brother always had a way of building anticipation when storytelling. “What happened, Falcon?”
The door burst open again before Falcon could respond. Her friends stumbled into the hut. Dahlia winced as Badger’s hands and knees met the ground with a loud thud. Behind him, Snowbird skidded to a stop, Wintersweet slamming into her back. They quickly regained their balance and dusted themselves off before making themselves cozy by the fire. Graywolf was the last to enter. He towered in the doorway, a grim look on his face. His grey-blue eyes scanned over his companions, assessing the scene before him. Without a word, he sauntered in. Then, he stood before the fire, not daring to sit next to his friends.
“Greywolf?” Dahlia asked.
“The Emperor is dead,” Greywolf stoically announced.
Excerpt #2:
The day had finally arrived for the coronation. Every noble house was in attendance, dressed in their finest garments. The Valor Guard lined the entire perimeter of the sacred temple, inside and out. They dressed in their finest regalia. Dahlia stood in front of the throng of glittering guests, her red silk gown, lined with gold stitching, shimmering brightly from the sunlight gleaming in through the ornate glass windows. She wore satin gloves that came up past her elbows, concealing the mate mark on her left hand. She would have to conceal it carefully until after their wedding night to avoid court gossip and scrutiny.
The high priestess stood at the altar, her head covered with a white turban, overlaid by a richly yellow veil. Her face was wrinkled with years of serving in the temple. Queen Aris stood to the left of the high priestess, surveying the crowd with her scrutinizing green eyes. She looked unsettled. The priests of Valor began to strum and tap their instruments, alerting the crowd that the procession was now beginning.
Dahlia held her breath, waiting for Prince Tyr to walk through the temple. The gathered witnesses all turned to the entrance of the temple, where the doors were being held open by two sturdy Valor Guards. They stood at attention as Prince Tyr passed over the threshold and strode, head held high, confidently down the aisle.
His golden hair was combed neatly, not in its usual disarray. He was wearing a white spidersilk imperial uniform, embellished with a gold dragon-shaped medallion at his shoulder, that clasped a golden spidersilk cloak onto his back. It trailed behind him, swaying as he walked. His eyes found Dahlia through the sea of people. He winked at her, and her face lit up in a smile.
Dahlia watched with pride as he stood in front of the dais, facing the high priestess and his mother. The high priestess lifted her hands to the heavens, her pointy chin upturned.
The congregation bowed its heads in reverence. When Dahlia noticed the bowed heads around her, she quickly followed suit. This was her first time in a Valoren temple.
“We stand here gathered today, before your watchful eye, Lord of the sun, giver of life, guardian of the dragon. We mourn for our dear emperor Tyrvano, who has departed from us thirty days past. The period of mourning over your faithful servant is over. We now present his only son and heir to you, to take his place and claim his throne.” The high priestess prayed loudly, her voice echoing off the marble walls and columns of the temple.
Prince Tyr kneeled before the high priestess and bowed his head. Behind the high priestess, on the altar, lies the emperor's crown. It was large, with red velvet lining, lengthy golden prongs, and glittering blood rubies encrusted throughout. It outshone the prince’s former crown and the current crown that sat upon Queen Aris’s head.
A priest clad in white appeared beside her, a chalice in his wrinkled hands. The high priestess took the chalice from the priest’s hands. She raised it up towards the ceiling, and the contents splashed against the rim of the cup.
“Our Lord Valor blessed us with a son to walk among our realm. His son held within his heart a seed of sunlight, which grew, transforming him into the first dragon. He became our emperor, and built Valoren into a city, then a kingdom, and now an empire. With this cup, partaking of the blood of the first dragon, and by doing so, take on the mantle of guardian and protector of your empire, Valoren.” She said as she placed the cup to his lips. He sipped the dragon’s blood.
The high priestess turned around, grabbing the painted dish behind the altar. Within it held ashes, black as coal. She drove her thumb through the ashes, then marked Tyr’s forehead with the letter ‘V’ with a crisp circle around it.
“From the ashes of your ancestors, Dragon Emperors who have walked before you, I anoint your head to bear the Crown.”
Then she turned, picking up the Dragon crown from the altar, and lifted it high above her head, so the congregation, all the way to the back of the temple, could see. A solemn hush fell over the crowd as she took the last step before Prince Tyr.
“With this crown, I ordain you Emperor Tyrvanis the first, son of Tyrvano, Dragon guardian of the realm, keeper of the peace, and Valor’s chosen vessel.” She sang. She then placed the imposing crown on top of Tyr’s bowed head.
“Valor be praised, we have a new Dragon Emperor!” The high priestess proclaimed. A rush of relief and pride flooded through Dahlia as she watched Tyr stand on his feet and face the crowd.
The crowd began to clap and holler for their new emperor.
“Valor, keep his dragon!” The crowd began to chant.
Tyr’s eyes found Dahlia’s, and he gave her a knowing smile. Her face lit up with excitement as she watched him descend the dais. He walked back down the aisle as the crowd continued to chant blessings for their new emperor. The ceremony was complete.
Conclusion
In order to create an immersive experience for readers, fantasy authors create fictional religions by researching real-world religions and mythology and their own personal religious backgrounds, ingraining religion into everyday life, connecting religion to politics and power, allowing diversity of religious beliefs, and making the religion affect character motivations. Religion’s role in fantasy fiction should be more than background decoration. It should be an authentic part of the way people within the fantasy world see the world around them. Believable fictional religions create richer fantasy worlds because religions are a part of the real world we live in. Readers find familiarity in a world that is structured by religion because religion plays a large role in how our society is structured and operates. Fantasy worlds with fleshed-out fictional religions make the fantasy world feel more authentic, which in turn makes the reading experience more immersive. Readers who love fantasy do so because it is an escape from the daily stresses of life. So, authors should take care to carefully craft their fantasy worlds with intention, and an integral part of that process is crafting fictional religions.
Works Cited
Barlament, J. W. “Creating a Fictional Religion.” Mythicscribes.com, 8 Feb. 2021, mythicscribes.com/world-building/creating-religion/.
Busby, Liz. “The Most Mormon Magic System: How Brandon Sanderson Turned Agency into Fantasy.” SFRA Review, vol. 51, no. 3, Summer 2021, pp. 166–175.
Craven, Sydney Allison. Religion in George R.R. Martin's "A Song of Ice and Fire" Franchise. University of Mississippi, 2020. Undergraduate Honors Thesis. eGrove, https://egrove.olemiss.edu/hon_thesis/1470/.
Fagan, Deva, “Episode 162: A Leap of Faith: Worldbuilding Fantasy Religions, Ft. DEVA FAGAN.” Podbean.com, 27 Aug. 2025, worldbuildingformasochists.podbean.com/e/episode-162-a-leap-of-faith-worldbuilding-fantasy-religions-ft-deva-fagan/. Accessed 8 June 2026.
Feldt, Laura. "Contemporary Fantasy Fiction and Representations of Religion: Playing with Reality, Myth and Magic in His Dark Materials and Harry Potter." Religion (London. 1971), vol. 46, no. 4, 2016, pp. 550-574.
Gerovac, Juraj. “A New Approach to Religion in the Fantasy Genre.” Kick: Students’ Magazine, no. 2, 2019, pp. 13–19. University of Osijek, Faculty of Humanities and Social Sciences.
Ott, Steven. "Making Fantasy Religions That Don't Suck." YouTube, uploaded by Desks and Dorks, 13 September 2025, www.youtube.com/watch?v=wt2LwBvv9DQ.
Rossis, Nicholas C. “Writing Your Character’s Faith.” Story Empire, 26 Mar. 2025,https://storyempire.com/2025/03/26/writing-your-characters-faith/. Accessed 25 June 2026.
