One of the beautiful things about the creation of The Great Sea is that it allows for a myriad of stories which have absolutely nothing to do with the Main Saga, which is Madatar's struggle to take possession of what was promised him.
There is a Troll story I want to tell, but that is probably going to become part of the Saga. There are tales from the Kingdom of Azua, but they indirectly point to the Saga, too.
But there are other worlds. Other creatures. Did you know that the Deltumler live in the ocean, and that their most hated enemy are the Sharogues? Both actually made an appearance in the original sequel to The Prophecies of Madatar, which was one of the Saga's earliest manifestations.
There are the Centaurs, the Pennans, the Nomads, and the orginal Men who populated the first giant world. And what of the Dragons and the Unicorns? At one time I thought about doing stories for all of these beings. Only I put it all on hold because I deemed the stories without a base if I could not get the Saga published.
The truth is, Apprentice and Quest could very easily take place on The Great Sea. Neither story has anything to do with Madatar.
Renaming this blog has reminded me that I have a host of stories to tell which are not based in any fashion or form upon the epic fantasy of my life's work.
The problem I have is I don't really understand online publishing at all, and that appears to be where short stories are going to have to be submitted in order to receive publication. Perhaps I should continue my Kiahva stories in hopes of finding a place for her. At the same time I could include a story or two about Dragons, Dwarfs, communities of Men on other worlds. All of this would build a base from which even the Saga could rise.
It's something to think about.
Showing posts with label Saga Elements. Show all posts
Showing posts with label Saga Elements. Show all posts
Monday, June 1, 2009
Saturday, May 30, 2009
The Origin of Trolls and Barbarians
Swords of Fire: Traitor makes mention of Trolls and Barbarians. They become important again in Book IV, which currently has no working title. I thought I would give a short background where Trolls and Barbarians came from.
After The Great War, which nearly destroyed The Great Sea, the Children of Fire were bound to repair as much damage as they could. Part of this restoration process involved close interaction with the Free Peoples, of which there were five: Figgits, Dwarfs, Men, Pennans, and Nomads. The Pennan and Nomad numbers were few, but the other races still existed in huge numbers. This was especially so with the race of Men.
In order to facilitate interaction between the Free People and the Children of Fire, certain members of the Children of Fire took on mortal form, meaning they would share the fate of whichever race they chose to emulate. They were granted long lifespans, but ultimately they would die. Lacking anything creative, the Free People called these Mortals.
Unfortunately, Zenophone encouraged a good number of his followers to also take on mortal form. These did not act in accordance with the rules set forth by the High King. Instead, they used their superior strength to overcome those they were to help and set up kingdoms. Hence they were called Overlords.
The Overlords went further than just seek dominion. They forced members of the races to become to become concubines and sexual slaves. The children born to these unions were deformed in varying degrees. They were known as The Accursed Races.
Accursed Races:
Trolls from Renegades were the largest. Next in size were Trolls from Barbarians. These are the Trolls of Swords of Fire: Traitor.
Sick? Yeah. It is. That's the point. People - any people - are capable of incredible acts when put in certain circumstances. The harder we deny this, the more likely we would be victims.
After The Great War, which nearly destroyed The Great Sea, the Children of Fire were bound to repair as much damage as they could. Part of this restoration process involved close interaction with the Free Peoples, of which there were five: Figgits, Dwarfs, Men, Pennans, and Nomads. The Pennan and Nomad numbers were few, but the other races still existed in huge numbers. This was especially so with the race of Men.
In order to facilitate interaction between the Free People and the Children of Fire, certain members of the Children of Fire took on mortal form, meaning they would share the fate of whichever race they chose to emulate. They were granted long lifespans, but ultimately they would die. Lacking anything creative, the Free People called these Mortals.
Unfortunately, Zenophone encouraged a good number of his followers to also take on mortal form. These did not act in accordance with the rules set forth by the High King. Instead, they used their superior strength to overcome those they were to help and set up kingdoms. Hence they were called Overlords.
The Overlords went further than just seek dominion. They forced members of the races to become to become concubines and sexual slaves. The children born to these unions were deformed in varying degrees. They were known as The Accursed Races.
Accursed Races:
- Goblins: from Figgits
- Gnomes: from Dwarfs
- Barbarians: from Men
- Gargoyles: from Pennans
- Renegades: from Nomads
Trolls from Renegades were the largest. Next in size were Trolls from Barbarians. These are the Trolls of Swords of Fire: Traitor.
Sick? Yeah. It is. That's the point. People - any people - are capable of incredible acts when put in certain circumstances. The harder we deny this, the more likely we would be victims.
Monday, May 25, 2009
Odelmaar
Odelmaar is something of a heavy in Swords of Fire: Traitor. It is Odelmaar who opposes Khirsha's grandfather in matters of family policy. It is Odelmaar who ever seeks harsher punishments for Khirsha and Kelso.
Swords of Fire: Traitor doesn't give us a lot of background information on Odelmaar. What we know is that he is the sovereign over Mines. He appears to be quite wealthy. He seems to support Prince Johahnen as successor to the Azuan throne. He was second in the competition to be Head-of-Family to Khirsha's grandfather.
There are no current stories devoted to Odelmaar to fill in his background, although if they were I am sure they would be interesting. He shows up at whiles in Tavaar's Background Story. Particularly after Tavaar leaves the military.
In Tavaar's Background Story we see a completely different man. But is that not often the way of stories, both real and otherwise?
When I originally introduced Sovereign Odelmaar into the saga I did not particularly like him. Back then I was creating "good" and "evil" characters. Odelmaar would have to wait nearly fifteen years before I allowed him to become a real person. Same with Khirsha, Abrin, and all the others. But whereas I had to show the failings of Khirsha and the other "good" characters, it was necessary to show Odelmaar as something other than a power hungry sovereign. I did this by writing Tavaar's Background Story. In it, we see Odelmaar dealing with is wife, parents, and children. This shows us his human side. It showed me. Then I rewrote Swords of Fire: Traitor, knowing more about Odelmaar. His character was much more believable.
Swords of Fire: Traitor doesn't give us a lot of background information on Odelmaar. What we know is that he is the sovereign over Mines. He appears to be quite wealthy. He seems to support Prince Johahnen as successor to the Azuan throne. He was second in the competition to be Head-of-Family to Khirsha's grandfather.
There are no current stories devoted to Odelmaar to fill in his background, although if they were I am sure they would be interesting. He shows up at whiles in Tavaar's Background Story. Particularly after Tavaar leaves the military.
In Tavaar's Background Story we see a completely different man. But is that not often the way of stories, both real and otherwise?
When I originally introduced Sovereign Odelmaar into the saga I did not particularly like him. Back then I was creating "good" and "evil" characters. Odelmaar would have to wait nearly fifteen years before I allowed him to become a real person. Same with Khirsha, Abrin, and all the others. But whereas I had to show the failings of Khirsha and the other "good" characters, it was necessary to show Odelmaar as something other than a power hungry sovereign. I did this by writing Tavaar's Background Story. In it, we see Odelmaar dealing with is wife, parents, and children. This shows us his human side. It showed me. Then I rewrote Swords of Fire: Traitor, knowing more about Odelmaar. His character was much more believable.
Saturday, May 23, 2009
Hawnka
I haven't written a lot about Old Hawnka. She's a character from Swords of Fire: Traitor. A significant character, even if she is a minor character.
Hawnka is Unaligned. This was the unfortunate fate of everyone known - or suspected to be - conceived out of wedlock. Bastards.
The first Unaligned was Tarska, born to Ashamada and Truschk in the 68th year of the Compound. Ashamada's mother was Alahnta, who was currently the Crops Soveriegn, and who would eventually become Head-of-Family. Alahnta was a hard woman and shamed by her daughter's behavior. She used her influence to prevent Tarska from being assigned membership in the Crops Line. Little did she understand that in punishing her daughter, she was not only also punishing her grandson, but all such children thereafter. In fact, many children born within the rules of family law would also be punished, for no child of an Unaligned could be anything but Unaligned. This made the Unaligned the fastest growing of all "lines", and by the time of Khirsha, the fifth most populous.
I like Hawnka. There isn't much I can say about her here because most of it is going to be revealed in the Saga. Suffice to say that she is very wise, and that she has access to things most of the family can't even dream about.
Hawnka is Unaligned. This was the unfortunate fate of everyone known - or suspected to be - conceived out of wedlock. Bastards.
The first Unaligned was Tarska, born to Ashamada and Truschk in the 68th year of the Compound. Ashamada's mother was Alahnta, who was currently the Crops Soveriegn, and who would eventually become Head-of-Family. Alahnta was a hard woman and shamed by her daughter's behavior. She used her influence to prevent Tarska from being assigned membership in the Crops Line. Little did she understand that in punishing her daughter, she was not only also punishing her grandson, but all such children thereafter. In fact, many children born within the rules of family law would also be punished, for no child of an Unaligned could be anything but Unaligned. This made the Unaligned the fastest growing of all "lines", and by the time of Khirsha, the fifth most populous.
I like Hawnka. There isn't much I can say about her here because most of it is going to be revealed in the Saga. Suffice to say that she is very wise, and that she has access to things most of the family can't even dream about.
Saturday, March 7, 2009
There Has to be a Reason for It
A good number of years ago I attended a Christian Writers' Conference in Wheaton, IL. Wheaton is just outside of Chicago and is home to Wheaton College, where the conference took place.
The idea was for Christian writers to gather together in one place and learn various things about writing. There were also representatives from vairious publishing houses to look at pieces of work. It was an excellent chance to meet a lot of people in the book business.
I met several authors, but I can only remember two: Myrna Grant and Janette Oke. I was also introduced to an editor at a Christian publishing house. His company did not publish fantasy, but he told me to write a story about children and baseball. I did. I wrote Joey. Based it on an actual incident and submitted it. Rejected.
There was another author I met, but I cannot remember his name. He read one of my earliest versions of Swords of Fire: Book I. That was when it was called The Prophecies of Madatar, which is now Book II. He did an excellent job of shredding it without making me feel horrible. That's a true gift.
I remember he was especially bothered by things which seemed to not have a reason. He said the family's extended lifespans were simply pro-rated out. Which was true. He said there was no purpose in Khirhsa's traveling all over the world. He had reasons for being there, but not for going.
He had a lot more to say and I tried to incorporate all of the suggestions into my work. But his thoughts on story elements having no reason have remained strong with me ever since. I learned the reason for the family's extended lifespans. It was before me all the time. I found reasons why Khirsha should make the journey he took. I know how Abrin gets his knowledge. I know what the "madness" is which infected Khirsha, Tavaar, Sayla, Avalina, and a few others not dealt with directly in Book I. And I know how and why they were "infected".
Learning the "why" of something can be trying sometimes. Sometimes I want to write a scene because it is so cool. The problem is, there is no reason for that scene to happen. I agonize over those scenes, searching for a reason for them to be. If I can find no reason, I cannot write the scene. I hate that, but everything has to happen for a reason.
I once had to rewrite two entire chapters in order to get a character to a place they needed to be. I have altered birth dates - and years - in order to suit matters. Marriage partners have been changed (no divorce - just changed - a literary form of spouse-swapping). Everything has to fit. It can get quite complicated at times. Which reminds me, I still have to complete 350 years of military assignments.
The idea was for Christian writers to gather together in one place and learn various things about writing. There were also representatives from vairious publishing houses to look at pieces of work. It was an excellent chance to meet a lot of people in the book business.
I met several authors, but I can only remember two: Myrna Grant and Janette Oke. I was also introduced to an editor at a Christian publishing house. His company did not publish fantasy, but he told me to write a story about children and baseball. I did. I wrote Joey. Based it on an actual incident and submitted it. Rejected.
There was another author I met, but I cannot remember his name. He read one of my earliest versions of Swords of Fire: Book I. That was when it was called The Prophecies of Madatar, which is now Book II. He did an excellent job of shredding it without making me feel horrible. That's a true gift.
I remember he was especially bothered by things which seemed to not have a reason. He said the family's extended lifespans were simply pro-rated out. Which was true. He said there was no purpose in Khirhsa's traveling all over the world. He had reasons for being there, but not for going.
He had a lot more to say and I tried to incorporate all of the suggestions into my work. But his thoughts on story elements having no reason have remained strong with me ever since. I learned the reason for the family's extended lifespans. It was before me all the time. I found reasons why Khirsha should make the journey he took. I know how Abrin gets his knowledge. I know what the "madness" is which infected Khirsha, Tavaar, Sayla, Avalina, and a few others not dealt with directly in Book I. And I know how and why they were "infected".
Learning the "why" of something can be trying sometimes. Sometimes I want to write a scene because it is so cool. The problem is, there is no reason for that scene to happen. I agonize over those scenes, searching for a reason for them to be. If I can find no reason, I cannot write the scene. I hate that, but everything has to happen for a reason.
I once had to rewrite two entire chapters in order to get a character to a place they needed to be. I have altered birth dates - and years - in order to suit matters. Marriage partners have been changed (no divorce - just changed - a literary form of spouse-swapping). Everything has to fit. It can get quite complicated at times. Which reminds me, I still have to complete 350 years of military assignments.
Wednesday, February 25, 2009
A Lot Going On
I keep thinking about all of the background elements I have let slide the past few months. I think I finished with determining where all 7,400+ people lived every year of their life, but I'm not sure. I know I haven't finished with the military. That is critical if I am ever to make Tavaar's life into a real book.
At the same time I have Book I - currently titled, A Traitor in the Midst - to refinish. By the way, I have yet to have anyone tell me how that title grabs them. I've gone through so many titles that others hate I'm kind of shy about believing I've got a good one.
That I have a good book I do not doubt. That the book is interesting and fun to read I do not doubt. That an agent could sell it to a publisher I do not doubt. That a publisher could make good money off it I do not doubt.
So what do I doubt?
My ability to sell it to an agent when I finish it again. Damn query letters. I wish query letters were living things. I just might commit murder.
I can't sell. I just can't. It has nothing to do with how much I believe in the product. As soon as I'm supposed to convince someone else something is good I lose all enthusiasm. My focus leaves the product and turns to, "Who in the h*ll am I to be trying to convince this person/these people of anything?"
In the meantime, I still have to finish Book I. When I do then, perhaps, I will return to background work.
At the same time I have Book I - currently titled, A Traitor in the Midst - to refinish. By the way, I have yet to have anyone tell me how that title grabs them. I've gone through so many titles that others hate I'm kind of shy about believing I've got a good one.
That I have a good book I do not doubt. That the book is interesting and fun to read I do not doubt. That an agent could sell it to a publisher I do not doubt. That a publisher could make good money off it I do not doubt.
So what do I doubt?
My ability to sell it to an agent when I finish it again. Damn query letters. I wish query letters were living things. I just might commit murder.
I can't sell. I just can't. It has nothing to do with how much I believe in the product. As soon as I'm supposed to convince someone else something is good I lose all enthusiasm. My focus leaves the product and turns to, "Who in the h*ll am I to be trying to convince this person/these people of anything?"
In the meantime, I still have to finish Book I. When I do then, perhaps, I will return to background work.
Sunday, February 22, 2009
Basic Beliefs
Back in December I posted about the Religious Message intended with Swords of Fire. Basically, none is.
All the same, it is difficult to create a world like The Great Sea without including elements which many would consider religious. Foremost among these elements is the idea of creation, and a Creator.
It turns some people off completely. Others are drawn by exactly those elements. And still others (probably most) don't care one way or the other. It's just part of the story.
I suppose it is difficult for a writer to not impart his/her basic beliefs into their writing, even when writing outside their basic beliefs. My beliefs on good and evil are reflected in what I write, for when characters behave in a certain way they are written as "evil" characters. And when characters behave in another way they are written as "noble".
What is difficult - if not outright impossible - is to write God as a character in a story. I've seen it done on movies and television shows, and read it in various other works. NEVER is God's character believable. God is not petty. God is not stupid. God is not ignorant. God does not make mistakes. And God does not answer to us.
I suppose that is why the High King in Swords of Fire is never a physically present character. He is referenced, and perhaps even spoke to. But he never speaks back. Not audibly to the characters. Determining what God would say is not easy to determine, and so often best left unsaid in fiction. Besides, to make the High King a more present character in Swords of Fire would only increase the presence of religion, I think. And I would just as soon avoid that for now. I'm not qualified to write religion. Not yet.
All the same, it is difficult to create a world like The Great Sea without including elements which many would consider religious. Foremost among these elements is the idea of creation, and a Creator.
It turns some people off completely. Others are drawn by exactly those elements. And still others (probably most) don't care one way or the other. It's just part of the story.
I suppose it is difficult for a writer to not impart his/her basic beliefs into their writing, even when writing outside their basic beliefs. My beliefs on good and evil are reflected in what I write, for when characters behave in a certain way they are written as "evil" characters. And when characters behave in another way they are written as "noble".
What is difficult - if not outright impossible - is to write God as a character in a story. I've seen it done on movies and television shows, and read it in various other works. NEVER is God's character believable. God is not petty. God is not stupid. God is not ignorant. God does not make mistakes. And God does not answer to us.
I suppose that is why the High King in Swords of Fire is never a physically present character. He is referenced, and perhaps even spoke to. But he never speaks back. Not audibly to the characters. Determining what God would say is not easy to determine, and so often best left unsaid in fiction. Besides, to make the High King a more present character in Swords of Fire would only increase the presence of religion, I think. And I would just as soon avoid that for now. I'm not qualified to write religion. Not yet.
Monday, February 16, 2009
Angelic Beings
That the Children of Fire are "angelic beings" is clear from any description I give them. But how close they are to real angels I cannot say. I doubt very. But there are similarities.
The Children of Fire have the power to assume any physical form they desire. These forms can be of real things, familiar to the mortal Free People who populate The Great Sea. Or they can be something entirely new and confusing. There is no limit.
I expect that is true of real angels, too. As spirit beings they are not bound by the physical. They can look like people, animals, or anything else. In the Book of Ezekiel we read how the prophet saw a vision of angels who's descriptions seem to indicate they appeared as machines. Possibly spaceships. More than a few people have suggested that those U.F.O. sightings which cannot be explained by means of human creations, or natural earth events, could possibly be angels/demons flying through the air. Don't know. Could be, I suppose.
The Children of Fire have divided themselves into two groups: those who support the High King's decision that Madatar be given control of The Great Sea, and those who oppose it.
That's kind of true for angels, too. Most of them have remained true to God and serve him with all their heart. But some have turned away. For whatever reason, they now oppose God. In Revelation, Chapter 12, we read how the dragon's tail, "swept down a third of the stars of heaven".
The thing is, though, Swords of Fire is not about our world, our redemption, or even the angels which come here. Swords of Fire is about a different place, with different people, who follow a different code. So don't get too hung up when even my "good" angels don't behave according to scripture. They're following a different book.
The Children of Fire have the power to assume any physical form they desire. These forms can be of real things, familiar to the mortal Free People who populate The Great Sea. Or they can be something entirely new and confusing. There is no limit.
I expect that is true of real angels, too. As spirit beings they are not bound by the physical. They can look like people, animals, or anything else. In the Book of Ezekiel we read how the prophet saw a vision of angels who's descriptions seem to indicate they appeared as machines. Possibly spaceships. More than a few people have suggested that those U.F.O. sightings which cannot be explained by means of human creations, or natural earth events, could possibly be angels/demons flying through the air. Don't know. Could be, I suppose.
The Children of Fire have divided themselves into two groups: those who support the High King's decision that Madatar be given control of The Great Sea, and those who oppose it.
That's kind of true for angels, too. Most of them have remained true to God and serve him with all their heart. But some have turned away. For whatever reason, they now oppose God. In Revelation, Chapter 12, we read how the dragon's tail, "swept down a third of the stars of heaven".
The thing is, though, Swords of Fire is not about our world, our redemption, or even the angels which come here. Swords of Fire is about a different place, with different people, who follow a different code. So don't get too hung up when even my "good" angels don't behave according to scripture. They're following a different book.
Tuesday, December 30, 2008
Book I - The Beginning
I'm supposed to talk about Madatar and Ardora today. I don't want to. So nyah.
Well, if you really want me to, I will - but you'll have to post a comment. So, because right now you don't know what I'm doing (I have often been accused of the same thing myself) I am going to talk about The Prologue. Oooo! (how is that spelled, anyway?)
For more than thirty years Swords of Fire has begun with a prologue. You should have seen the size of the original. It was as a long as a full chapter. It explained a great deal of what happened to The Great Sea prior to the book even beginning. At the time my sister-in-law (I'll call her "B", because it's short and sweat, like she is) was my Reader and Ideas Wall. Everything I wrote, or wanted to write, regarding The Great Sea I bounced off her first. If she liked the idea, we would sit and discuss it out for an hour or more. If she didn't like it, I kept rewording it in hopes she would change her mind. Sometimes she did, but not always. Anyway, B didn't like a monstrous prologue and kept having me whittle it down a few pages at a time until I was able to say everything in a single page of poetic prose. Then she was satisfied.
I have rewritten that page several times over the ensuing years, changing this and that to make it better say what I wanted it to say. Until now. In my latest revision of Book I, the one in which word reduction was the primary concern, the Prologue went away. I'm not sure if that was a good idea or not. There was important information there. Now I have to find other places to insert it. Oh, well. I knew I was hardly finished editing. I'm still forty thousand words over my limit. Besides, after the pasting (I like paste - used to eat it in kindergarten class) I took over my New Beginning at Evil Editor's blog (http://evileditor.blogspot.com) I realized the language and style I was using just isn't going to help get this thing published. Pity. However, for your reading pleasure, and because I hate to see it just go away, here is the last version of Book I's Prologue. I've bolded the portions I believe I need to incorporate in the narrative.
The Great Sea. An ancient artifact of the High King, hanging in darkness for time uncounted. Lifeless, its ring of earth remained coated with a thick, unforgiving layer of ice until the Fire came, slipping into it like a finger into a ring. From the Fire came warmth – and life. The waters teemed with it.
The Great Sea. Playground to the Children of Fire, offspring of the High King’s thought. The Children played upon the waters and drew land from its depths. Life spread from the water to the land, and from the land to the air. All the Sea was covered in life. And the High King made the Free Peoples, beings of limited stature, but possessed with creative thought and power. The land, the air, the water: it would be their own to share.
The Great Sea. Battleground to the Children of Fire, for not all were willing to share. The Sea was ravaged and torn, bringing Death, the last to arrive. The High King stayed the wars of his children, and He bound them to the Sea to repair what they could. But the Sea would be theirs no more. It would be given to the Free Peoples – when they were ready. The sign will be this: One comes, the Madatar, who will have the power of Fire, which is the power of the High King. Thus far he is hidden, and by many Free People forgotten. But the Children of Fire have not forgotten. To the Faithful, Madatar is their own hope of redemption, and they seek to help his rise to power. To the Unwilling, he represents judgment, and they seek his destruction. But he is still hidden.
Well, if you really want me to, I will - but you'll have to post a comment. So, because right now you don't know what I'm doing (I have often been accused of the same thing myself) I am going to talk about The Prologue. Oooo! (how is that spelled, anyway?)
For more than thirty years Swords of Fire has begun with a prologue. You should have seen the size of the original. It was as a long as a full chapter. It explained a great deal of what happened to The Great Sea prior to the book even beginning. At the time my sister-in-law (I'll call her "B", because it's short and sweat, like she is) was my Reader and Ideas Wall. Everything I wrote, or wanted to write, regarding The Great Sea I bounced off her first. If she liked the idea, we would sit and discuss it out for an hour or more. If she didn't like it, I kept rewording it in hopes she would change her mind. Sometimes she did, but not always. Anyway, B didn't like a monstrous prologue and kept having me whittle it down a few pages at a time until I was able to say everything in a single page of poetic prose. Then she was satisfied.
I have rewritten that page several times over the ensuing years, changing this and that to make it better say what I wanted it to say. Until now. In my latest revision of Book I, the one in which word reduction was the primary concern, the Prologue went away. I'm not sure if that was a good idea or not. There was important information there. Now I have to find other places to insert it. Oh, well. I knew I was hardly finished editing. I'm still forty thousand words over my limit. Besides, after the pasting (I like paste - used to eat it in kindergarten class) I took over my New Beginning at Evil Editor's blog (http://evileditor.blogspot.com) I realized the language and style I was using just isn't going to help get this thing published. Pity. However, for your reading pleasure, and because I hate to see it just go away, here is the last version of Book I's Prologue. I've bolded the portions I believe I need to incorporate in the narrative.
The Great Sea. An ancient artifact of the High King, hanging in darkness for time uncounted. Lifeless, its ring of earth remained coated with a thick, unforgiving layer of ice until the Fire came, slipping into it like a finger into a ring. From the Fire came warmth – and life. The waters teemed with it.
The Great Sea. Playground to the Children of Fire, offspring of the High King’s thought. The Children played upon the waters and drew land from its depths. Life spread from the water to the land, and from the land to the air. All the Sea was covered in life. And the High King made the Free Peoples, beings of limited stature, but possessed with creative thought and power. The land, the air, the water: it would be their own to share.
The Great Sea. Battleground to the Children of Fire, for not all were willing to share. The Sea was ravaged and torn, bringing Death, the last to arrive. The High King stayed the wars of his children, and He bound them to the Sea to repair what they could. But the Sea would be theirs no more. It would be given to the Free Peoples – when they were ready. The sign will be this: One comes, the Madatar, who will have the power of Fire, which is the power of the High King. Thus far he is hidden, and by many Free People forgotten. But the Children of Fire have not forgotten. To the Faithful, Madatar is their own hope of redemption, and they seek to help his rise to power. To the Unwilling, he represents judgment, and they seek his destruction. But he is still hidden.
Tuesday, December 16, 2008
If the Saga's About Madatar, Why Make Khirsha the Main Character
Swords of Fire is about Madatar. It is his story. But he is not the Point of View Character (POVC). Neither is Ardora, the Yin to to his Yang. Instead, the POVC is a character who is young, strong, vulnerable and who has a lot to learn. Why?
Mostly, it felt right. But there are clear advantages in choosing Khirsha over Madatar. The most important being that the reader gets to discover Madatar over time - like all the other characters in Swords of Fire. Until Madatar is revealed (in Book II, if you're interested), we wonder about him. Who is he, really? Why hasn't he revealed himself - to anyone?
There are clues but, like so many clues, they don't appear to be clues until shortly before (or after) their revelation. There were more clues, but I'm being forced to cut some in order to shorten the length of Book I. Even after Madatar is revealed, we are left with things to ponder. Each book in the progression presents new clues, and our knowledge escalates with the conflict until the inevitable final battle. (I haven't written it - officially - but I know what it is.)
Actually, did I say the most important reason for choosing Khirsha instead of Madatar as POVC was to discover Madatar? I'm wrong. The most important reason is that I believe readers can better identify with Khirsha than with Madatar. Khirsha is more like us. He lives in a physical world, as opposed to the spirit realm of Madatar and the Children of Fire. Khirsha is a lot like us - even if he isn't.
Mostly, it felt right. But there are clear advantages in choosing Khirsha over Madatar. The most important being that the reader gets to discover Madatar over time - like all the other characters in Swords of Fire. Until Madatar is revealed (in Book II, if you're interested), we wonder about him. Who is he, really? Why hasn't he revealed himself - to anyone?
There are clues but, like so many clues, they don't appear to be clues until shortly before (or after) their revelation. There were more clues, but I'm being forced to cut some in order to shorten the length of Book I. Even after Madatar is revealed, we are left with things to ponder. Each book in the progression presents new clues, and our knowledge escalates with the conflict until the inevitable final battle. (I haven't written it - officially - but I know what it is.)
Actually, did I say the most important reason for choosing Khirsha instead of Madatar as POVC was to discover Madatar? I'm wrong. The most important reason is that I believe readers can better identify with Khirsha than with Madatar. Khirsha is more like us. He lives in a physical world, as opposed to the spirit realm of Madatar and the Children of Fire. Khirsha is a lot like us - even if he isn't.
Friday, December 12, 2008
The Worlds and Their Origins
When the High King created The Great Sea he did not do all of the work himself. He could have, but that is not the way he does things. Instead, he provided the direction and means and allowed the Children of Fire to build it. The King did make the original foundation, and the Fire which sustained the Sea was his. But the actual fashioning was done by the Children of Fire. Think of it as a Master Craftsman handing his students a basic form, such as a ball of clay, and telling them to reshape it into a bird, or a tree, or anything. That is what the High King did.
Some place in the archives (I can't find it now) I have an account of how the first world was created. It was Kensington who made it. He, Draem and Zenophone had just arrived. The Fire in the midst of the ring had already melted much of the ice, and the High King had blown upon the waters to start the rotation. Kensington stepped upon the Sea, and when he lifted his foot, land from beneath the surface, broke free and rose. The three Lords walked the Sea, breaking up more and more pieces of land, and generating a thick steamy cloud in the process. Soon, they were joined by others, and the footprints of their frolicking became the worlds.
The Children watched the worlds (lifeless pieces of earth) race across the waters, crashing, merging and sinking. Eventually, they began pushing the worlds together, creating a massive piece of land which became a vortex to everything else. It was upon this Original World that the High King introduced Life. It was an explosion of life. The waters had life. The land had life. There was life in the air. And the Children were allowed to tend and direct this life, as gardeners and herdsmen.
The Children governed their new world from its center. For time uncounted this continued. Then, at last, Zenophone believed he was ready and made his move to take sole control. And so began The Great War. But Zenophone had miscalculated. His followers did not number so highly as he had deceived himself into believing. Neither did all of the creatures he had made come to him. Only a few dragons took his side, and none of the most powerful. Unwilling to relent, Zenophone chose to see the Great Sea destroyed rather than allow another to have it.
The World was rent apart, killing great numbers of the Sea's life. But before all was lost the High King intervened. Like a parent putting a stop to a fight between siblings which has escalated to a point of danger, the High King ended the War and imposed restrictions on what the Children could, and could not, do henceforth. All who had participated were confined to the Sea, even those who's strength had been exhausted. For them, two isles were made: The Isle of Wonder, for those who had fought beside Kensington and Draem; and The Isle of Nether Gloom, for those who had fought with Zenophone.
The King gave them their decree. "The isles shall beckon to you according to your deeds. When your strength gives way you shall be pulled directly to the isle which holds your heart. From the Isle of Nether Gloom there is no escape. Those who go there will remain in their confinement until I at last put an end to the Sea. On the Isle of Wonder you will rest and regain your strength. When you are able, you will be free to rejoin in the work of repair."
The Children were then tasked with repairing the Sea, in as much as it could be repaired. They were forbidden to rejoin the pieces of their world because the upheaval required would kill the life which remained. So the worlds were left separate. They were hidden from each other by the cloud of mist which still hung over the waters. Each moved over the waters at its own pace, and each had it's own time. The Children built portals, windows from one world to another to allow quick passage. In time, there was a new routine.
But Zenophone was not content. The Sea had been promised to Madatar. What, he thought, if Madatar was not able to claim his prize? What if he were to be so decimated that he was trapped on one of the isles? And so Zenophone, and all who were too proud to return to Kensington, set about to find Madatar and destroy him. It was a dangerous game they played. Madatar was stronger than any one of them, including Zenophone. And should he join with Ardora, there would be no chance of victory. They were limited in what they could do. If they pushed too hard, the High King might intervene again. But for whatever his reasons, the High King was not interfering at the moment. The race was on. Madatar was somewhere on The Great Sea. But on which world?
Some place in the archives (I can't find it now) I have an account of how the first world was created. It was Kensington who made it. He, Draem and Zenophone had just arrived. The Fire in the midst of the ring had already melted much of the ice, and the High King had blown upon the waters to start the rotation. Kensington stepped upon the Sea, and when he lifted his foot, land from beneath the surface, broke free and rose. The three Lords walked the Sea, breaking up more and more pieces of land, and generating a thick steamy cloud in the process. Soon, they were joined by others, and the footprints of their frolicking became the worlds.
The Children watched the worlds (lifeless pieces of earth) race across the waters, crashing, merging and sinking. Eventually, they began pushing the worlds together, creating a massive piece of land which became a vortex to everything else. It was upon this Original World that the High King introduced Life. It was an explosion of life. The waters had life. The land had life. There was life in the air. And the Children were allowed to tend and direct this life, as gardeners and herdsmen.
The Children governed their new world from its center. For time uncounted this continued. Then, at last, Zenophone believed he was ready and made his move to take sole control. And so began The Great War. But Zenophone had miscalculated. His followers did not number so highly as he had deceived himself into believing. Neither did all of the creatures he had made come to him. Only a few dragons took his side, and none of the most powerful. Unwilling to relent, Zenophone chose to see the Great Sea destroyed rather than allow another to have it.
The World was rent apart, killing great numbers of the Sea's life. But before all was lost the High King intervened. Like a parent putting a stop to a fight between siblings which has escalated to a point of danger, the High King ended the War and imposed restrictions on what the Children could, and could not, do henceforth. All who had participated were confined to the Sea, even those who's strength had been exhausted. For them, two isles were made: The Isle of Wonder, for those who had fought beside Kensington and Draem; and The Isle of Nether Gloom, for those who had fought with Zenophone.
The King gave them their decree. "The isles shall beckon to you according to your deeds. When your strength gives way you shall be pulled directly to the isle which holds your heart. From the Isle of Nether Gloom there is no escape. Those who go there will remain in their confinement until I at last put an end to the Sea. On the Isle of Wonder you will rest and regain your strength. When you are able, you will be free to rejoin in the work of repair."
The Children were then tasked with repairing the Sea, in as much as it could be repaired. They were forbidden to rejoin the pieces of their world because the upheaval required would kill the life which remained. So the worlds were left separate. They were hidden from each other by the cloud of mist which still hung over the waters. Each moved over the waters at its own pace, and each had it's own time. The Children built portals, windows from one world to another to allow quick passage. In time, there was a new routine.
But Zenophone was not content. The Sea had been promised to Madatar. What, he thought, if Madatar was not able to claim his prize? What if he were to be so decimated that he was trapped on one of the isles? And so Zenophone, and all who were too proud to return to Kensington, set about to find Madatar and destroy him. It was a dangerous game they played. Madatar was stronger than any one of them, including Zenophone. And should he join with Ardora, there would be no chance of victory. They were limited in what they could do. If they pushed too hard, the High King might intervene again. But for whatever his reasons, the High King was not interfering at the moment. The race was on. Madatar was somewhere on The Great Sea. But on which world?
Tuesday, December 9, 2008
Madatar and Ardora
Madatar was part of the original creation - both mine, and the High King's. Who and what he was grew as I continued to write until he became the one for whom the Great Sea was created.
Ardora is a more recent, but logical, creation - mine, NOT the High King's. Ardora began when Madatar began. She is the compliment to Madatar - the Yin to his Yang.
Madatar and Ardora are also beings of Fire. Spirits, if you will, but of a different order than the other Children of Fire. Individually, they became more powerful than any other on the Great Sea, save the High King himself. Collectively, they became more powerful than everyone, and everything, combined on the Great Sea, save the High King. But they are not together.
Shortly after the Great Sea's creation, Zenophone and his followers attempted to take the Great Sea for their own. Ultimately this resulted in the Great War, in which the Sea itself was nearly destroyed. It was at this time Madatar and Ardora were separated and hid from each other. For while they were destined to become the reigning power over the Great Sea, they had yet to achieve that stature. In the early days of the Sea's history they were vulnerable. So the High King hid them, and not even Kensington knew where.
Why would the High King separate them? It is not always easy to know the thoughts of the High King. But this we know: Even at the Beginning, Madatar nor Ardora did not have the power to defeat Zenophone and his followers. However, together their growth would cause ripples across the Sea which would only draw their enemies to them. Separated, the ripples became confused with all else that was taking place.
That is the story of Swords of Fire. It is the saga of Madatar and Ardora's search for each other and their ultimate battle with Zenophone and his followers. It is presented from the perspective of one Khirsha, son of Klarissa and Shello, of the Line of Swords, in the House of Jora. Khirsha became the eye of the storm, so to speak.
Ardora is a more recent, but logical, creation - mine, NOT the High King's. Ardora began when Madatar began. She is the compliment to Madatar - the Yin to his Yang.
Madatar and Ardora are also beings of Fire. Spirits, if you will, but of a different order than the other Children of Fire. Individually, they became more powerful than any other on the Great Sea, save the High King himself. Collectively, they became more powerful than everyone, and everything, combined on the Great Sea, save the High King. But they are not together.
Shortly after the Great Sea's creation, Zenophone and his followers attempted to take the Great Sea for their own. Ultimately this resulted in the Great War, in which the Sea itself was nearly destroyed. It was at this time Madatar and Ardora were separated and hid from each other. For while they were destined to become the reigning power over the Great Sea, they had yet to achieve that stature. In the early days of the Sea's history they were vulnerable. So the High King hid them, and not even Kensington knew where.
Why would the High King separate them? It is not always easy to know the thoughts of the High King. But this we know: Even at the Beginning, Madatar nor Ardora did not have the power to defeat Zenophone and his followers. However, together their growth would cause ripples across the Sea which would only draw their enemies to them. Separated, the ripples became confused with all else that was taking place.
That is the story of Swords of Fire. It is the saga of Madatar and Ardora's search for each other and their ultimate battle with Zenophone and his followers. It is presented from the perspective of one Khirsha, son of Klarissa and Shello, of the Line of Swords, in the House of Jora. Khirsha became the eye of the storm, so to speak.
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