Conlangs! Constructed languages in literature discussion

Two questions for you:

1) What role does your conlang play? Is it just window dressing, or does it provide a focus for themes and ideas?

2) Has your conlang taken on a life of its own? Do you keep working on it, or have you put it on a shelf somewhere once the book is done?

For the Kiitra language in Lamikorda:

1) It's a major "set piece," giving the novel more verisimilitude. But I've also used it to raise ideas about how we convey concepts in language. So, for example, there is no singular verb for "apologize" in Kiitra, but there is the compound form persh (ara) kijem [to beg (one) to forgive].

2) Kiitra was quite functional by the time I completed the novel, but I've continued to expand its lexicon (now over 3600 entries).

My conlang is the tip of a cosmologically deep linguistic triptych.

Each cosmic language reveals a psychological theme for each society.

Language name, cosmic alignment, societal name, grammar structure... short description.

Horozhi Seleshia, The Surge (Chaos), Seleshia, is VSO — actions before subject or object. Much along the lines of act before thinking, but that is a bit of an oversimplification. Free-flowing, independent thought. Individual scripts: each person creates their own flowing script and is taught how to create, not what to create. Scripting is undecipherable because every person's script varies, and when that person dies, the understanding of the script dies with them. Scroll-like, flowing alphabetic structure — right to left, left to right, right to left, etc., as it continues back and forth, snaking its way up the page.

Hoatak Urtakan, The Hold (Control), Urtakan, is SOV — the doer before all else. Focus on structure and hierarchy, much as the king and his subjects. Strict and constrained, solidly defined and hidden from the populace, reserved for religious and political documents or discussions. Never publicized or released into the wild, this secret script is guarded fanatically. Logographic structure. Originally, it was a growing spiral format that started with the first glyph and built each subsequent one in ever-outward spirals.

Hadokai Tubatonona, The Dance (Balance), Tubatonona, is OSV — it focuses on the outcome above the action or the agent. The language and scripting are never hidden or ever-changing, and serve as the bridge between the other cosmic forces, having been created from a full one-third of each's power. Focuses on making sure that the purpose is paramount. Syllabic scripting structure, and reaches a subtle compromise between the above two languages. The Dance was formed from the Hold and the Surge and seeks to find the middle ground in everything.