So essentially, the idea of how I make fictional languages is a bit of a combination of a grammatical construction kit and a bit of wishy washy improvisation. What you have to understand in order to make a language is to first understand who is going to be using the language. That is the first and fundamental step that will determine how the language is supposed to sound, look, and feel. You will only very rarely find a brutish, savage tribe using a complex, flowing, and flowery language. It simply doesn't work that way. Brutal savage tribes don't need a flowery complex language, they need short, sharp, and to the point conversation that conveys a lot of meaning in not a lot of words. However, a culture or a race that is highly developed in cultural or religious aspects has the need to develop their grammatical constructions and how their language feels in order to smooth out the rough spots. You see rough spots a lot in germanic languages, such as the word for speed limit, Geschwindigkeitsbegrenzungen. That is a result of them not coming up with new internal words for their language, and instead using old descriptive words to build a new word. As a result, a highly developed and advanced race will, as a result, have a smoother, more flowing language with more complexities than, say, a barbarian tribe. However, when conveying simple aspects of life, the barbarian language will be much faster and quicker to get to the point than the advanced language. These are things you need to think about, because the first step in developing a language is, as I said, understanding who the hell is going to speak it. Now that we have that settled, you can build off of who the hell is going to speak it by looking at other languages in the world, and how they work. Admittedly, I build my languages off of real world equivalents, because it works very very well. For example, a language I have devised, Livoniianoi, is based off of Greek. Fundamental aspects of the Greek language are a heavy reliance on "round" sounds, the tendency of certain word endings (-ion, -kos, -os, etc.), and how the language overall feels. For example, look at this snippet of a Greek hymn, Agni Parthene. Code: Agní Parthéne Déspina, Áhrante Theotóke, Hére Nímfi Anímfefte Parthéne Mítir Ánassa, Panéndrose te póke. Comparing this to the Livoniianoi hymn reveals some similarities. Code: Ek Pharistosi ouranion, Ae philotorus respeion, Ek Deiostosi ouranion, Ier xalchos turia, Ae kalliopos kyrion! Iet devotinos harmotosi kefteios, Ae indurios kyrion! Et vorianos Livonii aetun. Yet at the same time, you notice differences. That is because the next step is simple: Take the structures and some smiliarities, and find ways to mix it up. The reason why those words are always at the front of Livonian language is due to a unique structure of the hymn more than any actual grammatical situation, but looking at the English lyrics for the hymn, here is the Greek translation of the hymn, the English Translation of the hymn, and the Livoniianoi translation of the hymn side by side. Agní Parthéne Déspina, Áhrante Theotóke, Hére Nímfi Anímfefte Parthéne Mítir Ánassa, Panéndrose te póke. O Virgin pure, immaculate/ O Lady Theotokos Rejoice, O Unwedded Bride! O Virgin Mother, Queen of all/ and fleece which is all dewy Urfeilos puro desfinos, Ai feimos Deiotokos, Treiumpha urkalaspinos deifeime! Urfeilion Basillia Matera, komferte phe kloide.