Ophiucha
Auror
I've got a decent linguistics background (I both took linguistics and have taken a year in about six languages), so - tedious though it is - I do have a good base for conlanging, and I'm not as reluctant to do it as I am other worldbuilding endeavours. Like economies. Never ask me about my world's economy, because the answer is and always will be "I've got a name for the money, what more do you need?", followed by a bit of crying in the corner. And on that note, I will say that I think a conlang is as important as an economy, which is to say, it depends on the story. More than just about anything, I think we can blame this one on Tolkien. Not that he did it poorly - he created a pretty great language - but it's one of those things we expect because Lord of the Rings codified fantasy. Of course, it also depends on how thoroughly you create your language. If you want about a third of your book to be Elvish poetry, or your story is about decoding ancient, dwarfish runes, then you may need to create a rather thorough conlang. If you want to name your characters and your cities, that's basically the functional equivalent of coming up with a vague coinage and leaving your economy at that. And that's fine.
For my current projects, in particular, one just uses Welsh because I don't care that much. The other one has a few naming languages, but I am working on a fully developed music language. The world has four or five sapient species - one which is vaguely humanoid, one vaguely rodent-esque, one vaguely cephalopod-esque, and one which is a spider of some sort. It is the only way the species can communicate, since they cannot speak or understand each other's languages, but they can all hear (or, at least, feel vibrations and decipher them accordingly). It's more about pitch and rhythm than anything, so the concerns are pretty different than that of most Earth languages. And the naming languages aren't based on any one Earth culture, either.
For my current projects, in particular, one just uses Welsh because I don't care that much. The other one has a few naming languages, but I am working on a fully developed music language. The world has four or five sapient species - one which is vaguely humanoid, one vaguely rodent-esque, one vaguely cephalopod-esque, and one which is a spider of some sort. It is the only way the species can communicate, since they cannot speak or understand each other's languages, but they can all hear (or, at least, feel vibrations and decipher them accordingly). It's more about pitch and rhythm than anything, so the concerns are pretty different than that of most Earth languages. And the naming languages aren't based on any one Earth culture, either.