Browsed by
Category: Essays

My First Novel Sale

My First Novel Sale

childoffireThis essay first appeared as a part of Jim C. Hines’s First Book Friday series, in which authors describe their first sales. You can read the entire series on his blog or LiveJournal. This piece has been lightly edited for clarity.


The first thing to know about selling Child of Fire, my first novel, is that it happened after I’d already quit writing.

I’d spent years trying to sell longer works, but had no success; you might say I was a smidge discouraged. The book I’d written just before Child of Fire was very difficult and very personal; I’d literally wept while composing the first draft. What happened when I sent it out? Form rejection after form rejection.

I was angry (with myself, not with the people who’d rejected me; that’s one of my most important rules). I thought I’d been doing everything I needed to do, but apparently not.

For my next book, I used my anger as fuel. I started with a strange incident that needed to be investigated. I loaded the story with antagonists and conflicting goals. Then I ramped up the pace and kept it going, making even the slower parts, where the characters just talk with each other, quick and full of conflict.

But I was sure I was wasting my time. If my last book hadn’t gone anywhere, why should this one?

Read More Read More

Heavy metal fantasy: Blind Guardian back in the fray with At the Edge of Time

Heavy metal fantasy: Blind Guardian back in the fray with At the Edge of Time

blind-guardian-live-frontTo the gods of the north, I pray
And raise my cup for the fallen ones
Then I cry
In Valhalla they’ll sing

–“Valkyries,” Blind Guardian

As a life-long heavy metal fan who also loves fantasy literature, it was only a matter of time before I got to the subject of Blind Guardian. About all you need to know about this wonderful, semi-obscure German metal band is that they wrote an entire album about J.R.R. Tolkien’s The Silmarillion (Nightfall in Middle Earth).

Need I say more? I mean, look at the picture I’ve embedded — that’s a Blind Guardian album cover, and it looks like it could have been plucked off the cover of a Robert Jordan novel.

Read More Read More

Worlds Within Worlds: The First Heroic Fantasy (Part IV)

Worlds Within Worlds: The First Heroic Fantasy (Part IV)

This is the fourth in a series of posts investigating the question of who wrote the first otherworld fantasy (you can find the first part here, the second here, and the third here). By ‘otherworld fantasy’ I mean a story set entirely in another world, with no framing device to connect it to reality. Traditionally, the credit for inventing otherworld fantasy has been given to William Morris. I have another figure in mind.

You can see her there on the right.

In 1837, Sara Coleridge, the daughter of poet Samuel Taylor Coleridge, published a book called Phantasmion, which was received, and reviewed, as a fairy tale novel. And, at first glance, it certainly seems similar to the German and French fairy tales that were popular at around that time. But I don’t think it reads like a fairy tale, certainly not once it gets going.

It reads very like a high fantasy. In fact, like an otherworld fantasy.

Read More Read More

Finding Deliverance in a dearth of heroic fantasy

Finding Deliverance in a dearth of heroic fantasy

dickey-deliveranceI lay with the flashlight still in one hand, and tried to shape the day. The river ran through it, but before we got back into the current other things were possible. What I thought about mainly was that I was in a place where none—or almost none—of my daily ways of living my life would work; there was not habit I could call on. Is this freedom? I wondered.

–James Dickey, Deliverance

So you’ve read yourself out of Robert E. Howard and Fritz Leiber, closed the cover on the latest Bernard Cornwell and Joe Abercrombie, and you’re looking for something new in heroic fiction. But you can’t seem to find what you’re looking for. Rather than slumming around in the dregs of the genre or reaching for The Sword of Shannara (with apologies to fans of Terry Brooks), my suggestion is to take a look at modern realistic adventure fiction and non-fiction.

I read heroic fiction for the action, the adventure, the storytelling, and the sense of palpable danger that real life (typically) doesn’t provide. Likewise, I find that works like The Call of the Wild and The Sea Wolf by Jack London, Alive by Piers Paul Read, and Into Thin Air by Jon Krakauer satisfy the same primal needs as the stories of an Edgar Rice Burroughs or David Gemmell. The best modern adventure fiction/non-fiction stories are bedfellows with heroic fiction: While they may not contain magic or monstrous beasts, they allow us to experience savagery and survival in the wild and walk the line of life and death.

My favorite work in this genre is Deliverance by James Dickey, and it’s to this book that I’d like to devote the remainder of this post.

Read More Read More

Worlds Within Worlds: The First Heroic Fantasy (Part III)

Worlds Within Worlds: The First Heroic Fantasy (Part III)

William MorrisThis is the third in a series of posts looking at the question of who wrote the first otherworld fantasy: that is, the first fantasy to be set entirely in its own fictional world, with no connection to conventional reality at all. It’s an innovation traditionally ascribed to William Morris, but I think I’ve found an earlier writer who deserves that honor.

In the first post, I considered how to identify a fictional otherworld. I suggested four characteristics, of which a story’s fictional world needed to have at least three to be a true otherworld: its own logic (which might involve, say, the existence of magic), characters who we identified as residents of another world than our own, a coherent history, and a coherent fictional geography. In the second post, I considered ways in which older fantasies were linked to reality — by being set in the past, or in a place beyond contemporary knowledge, or being established as a dream, or as a story within a story, or as a myth. I concluded by discussing what I felt was significant about the idea of otherworld fantasy.

Before going on to present my suggestion for the writer of the first otherworld fantasy, though, I’d like to take a closer look at some past fantasies I thought came very close to presenting self-contained otherworlds. These are works which I don’t think are true otherworld fantasies, but which other people might choose to see as such.

Read More Read More

Worlds Within Worlds: The First Heroic Fantasy (Part II)

Worlds Within Worlds: The First Heroic Fantasy (Part II)

William MorrisThis is the second post in a series trying to answer what looks like a simple question: who wrote the first fantasy set entirely in another world? As I found in my first post, to answer that question you first have to decide how to define a fantasy otherworld. I came up with a list of four characteristics: whether the world has a distinct logic to it, such as the use of magic; whether the people in the world are meant to be perceived as residents of this world; whether the world has its own history; and whether it has its own geography. It seems to me most otherworlds have all four characteristics, with a few interesting cases getting by with three. Any less than three, and you don’t have an otherworld.

Now, traditionally, William Morris has been considered to be the first writer to have set a story entirely in a fantastic otherworld; that is, to write a story in which the real world as we know it never appeared. His was the name suggested by Lin Carter and L. Sprague de Camp, it was accepted by John Clute and John Grant in their 1997 Encyclopedia of Fantasy, and it’s found a place in the repository of all human knowledge, Wikipedia. I, however, am disagreeing; I’ve found an a writer from a few decades before Morris who wrote something that seems to me to be an otherworld fantasy.

Before naming that writer, though, I’d like to tackle a related question. And that is: why did it take so long for somebody to come up with the idea?

Consider: Morris’ The Wood Beyond the World was published in 1894. Even if the first otherworld fantasy was in fact a few decades earlier, then people were still telling tales for thousands of years before coming up with the idea of an independent world (it would be interesting to see when the term ‘world’ began being used in criticism, as in ‘the world of Dickens’ or ‘Shakespeare’s green world’). Why the long delay?

Read More Read More

In the Grip of “The Northern Thing:” My Top 10 Northern Inspired Stories

In the Grip of “The Northern Thing:” My Top 10 Northern Inspired Stories

hrolf-krakis-sagaLet us die in the doing of deeds for his sake;
let fright itself run afraid from our shouts;
let weapons measure the warrior’s worth.
Though life is lost, one thing will outlive us:
memory sinks not beneath the mould.
Till the Weird of the World stands unforgotten,
high under heaven, the hero’s name.

–from Hrolf Kraki’s Saga, Poul Anderson

If I had to choose a favorite sub-genre of fantasy literature it would be those writings showing the clear influence of ancient Northern mythology. Fantasy critic Lin Carter once described a group of writers including the likes of J.R.R. Tolkien, Poul Anderson, and William Morris as being possessed by “The Northern Thing”; I too am firmly in that Icelandic grip of iron. There’s just something about tales of pagan heroes possessed of grim northern courage, set against a backdrop of bleak fjords and smoldering mountain peaks and gray lowering skies, that make me want to hop on the nearest dragon-headed longship and go a-viking.

Following in no particular order are my top 10 favorite northern stories. These are stories inspired by northern myth (the Prose and Poetic Eddas), legend (the Icelandic Sagas), or history (the Danish invasions of England), and sometimes all three at once.

1. The Broken Sword, Poul Anderson. Arguably the greatest fantasy novel without the name J.R.R. Tolkien on its cover, The Broken Sword combines Norse mythology, inexorable tragic fate, faerie races vs. encroaching humanity, and Christianity vs. Paganism in a bloodthirsty, unforgettable saga.

2. Hrolf Kraki’s Saga, Poul Anderson. Anderson makes his second appearance on this list, the only author to do so. Hrolf Kraki’s Saga is a terrific, too little known novel that moves with the speed of lightning (just 260 pages) and hits with the impact of Thor’s hammer. It’s also a retelling of the life and times of an actual Danish king of the same name, and is rendered even more powerful and mythic with its tragic Arthurian overtones.

burningland_lg3. The Saxon Stories, Bernard Cornwell. Uhtred of Bebbanburg is a Saxon youth captured and raised among the Danes, who then proceeds to spend the next several books in this yet-unfinished series fighting alternately for both sides in war-torn 9th century England. The Saxon Stories features Cornwell, a brilliant historical fiction writer, at his near-best (though I still prefer his Warlord Trilogy) with Viking raids, shield walls, axes, dark ages combat, hall-burnings, and general mayhem galore. Great stuff.

Read More Read More

Worlds Within Worlds: The First Heroic Fantasy (Part I)

Worlds Within Worlds: The First Heroic Fantasy (Part I)

William MorrisWho was the first person to write high fantasy?

It seems like a simple enough question. By “high fantasy” I mean a story set in a world that is not this one. John Clute, in The Encyclopedia of Fantasy, defines high fantasies as stories “set in otherworlds, specifically secondary worlds, and which deal with matters affecting the destiny of those worlds.” In this definition, ‘Secondary worlds’ is Tolkien’s useful term for a fictional, self-consistent world with its own geography and history.

There’s a bit of ambiguity here, though. A secondary world is not necessarily a wholly other world. Tolkien intended his world of Arda to represent this world in a mythic, pre-historic time. Similarly, Robert E. Howard’s stories of Conan and Kull were meant to take place before the dawn of recorded history, and even most (if not all) of Clark Ashton Smith’s stories are given a precise relation to reality. In fact, Smith locates his stories almost everywhere in the existing universe that a fantasy could conceivably be placed: in the past (Hyperborea, Poseidonis), in the far future (Zothique), on other worlds known (Mars) or unknown (Xiccarph).

These choices of settings justify the fantasy. They explain how the fantasy can be imagined to exist, and make suspension of disbelief easier by linking the fantasy to reality. They frame the fantasy, if you like, in a connection to the real. That’s interesting, but it makes you wonder who the first person was that discarded the frame, and stepped wholly outside of reality. Or, to reframe my original question: who was the first person to come up with the idea of setting a story entirely in a world that is not our own? Who told the first story that had no link to the real world?

Read More Read More

Climbing Aboard the Dragon: Maps and the Fantasy Writer

Climbing Aboard the Dragon: Maps and the Fantasy Writer

The world is a miracle, unfolding in the pitch dark.
— Barry Lopez, “The Mappist”

Just because you can travel to a place doesn’t mean you can know it.
—Alan DeNiro, “Salting the Map”

Like most things with us fantasy readers and writers, it started with Tolkien.

Map of the Wilderlands, from THE HOBBIT

I saw the map at the beginning of my now-battered Ballantine version of The Hobbit all those years ago. The book had two maps in it, for crying out loud — my eleven-year-old self had never seen such a thing. I wondered if there’d be some sort of quiz at the end of the book — was Mount Gundabad at the northern or southern tip of the Misty Mountains? (No fair peeking!)

I can’t tell you how many times I drew and re-drew that map. I think I even tried to recreate it on an old Apple II computer, using BASIC (ouch, just aged myself, big-time). I studied it, wondered about those Woodmen living on the western border of Mirkwood, and of course traced the path taken by Bilbo and the dwarves on the way to their final meeting with Smaug the dragon.

And then I got a copy of The Fellowship of the Ring and saw how that little slice of the world from The Hobbit fit into the much bigger world of Middle-Earth, and I was hooked. Forget sketching the map of the land — I wanted to live there! (Orcs and wargs and all.)

Read More Read More

Toy Story 3: Genre fiction writers take heed

Toy Story 3: Genre fiction writers take heed

toy-story-3-lotso-huggin-bearWarning: This essay contains some spoilers.

If fairy-story as a kind is worth reading at all it is worthy to be written for and read by adults.

–J.R.R. Tolkien, Tree and Leaf

I don’t get to the theatre too often these days, and with two young daughters in tow more often than not it’s to see a children’s film. But I’m not lamenting this fact, especially when the movies are of the quality of Toy Story 3.

Hey, I love Robert E. Howard, Bernard Cornwell, and the Viking novels of Poul Anderson as much as the next battle-mad fantasy fan, but I’m man enough to admit liking (most) Pixar films as well. And Toy Story 3 might be the best one I’ve seen. Critical consensus is not necessarily a hallmark of a good film (see Blade Runner, panned on its initial release by most critics, recognized as genius years later), but I think it’s telling that Toy Story 3 currently has a 99% “fresh” rating on Rotten Tomatoes. In this case, the critics are spot-on.

Toy Story 3 is a near-perfect children’s film. Like all children’s films, it possesses straightforward story lines, engaging visuals, and brisk action in order to keep young attention spans focused. (If these qualities sound like less than appealing, well, genre films can’t be all things to all people). So why sing its praises on Black Gate? Toy Story 3 serves as an instructive example of how to tell a great story within the confines of a given genre. Just like you can’t get too bogged down in dialogue or non-linear narrative techniques in a movie for kids, that story you submit to Heroic Fantasy Quarterly better contain some elements of sword play and sweeping action if you want to stand a chance of getting it published. If you disregard your audience you’re destined to fail.

Read More Read More