Asphodel Meets Modern Fantasy

As I get ready to release the last Asphodel reissue, I'm starting to get excited about the publication of the sequel series. It will be interesting to see how fans of the first series respond to the second. 

Writers mature just like any other professional. As you progress, your writing changes. The Asphodel Cycle was my first fantasy series. The Black Dream is my latest. It was strange, to say the least, to revisit a world I first created as a teenager and wrote in the early 2000s. My voice is stronger, I think, and over a decade as a professional editor has made the writing tighter and cleaner. 

But just as the author matured, so too have my characters. I thought it best to keep the spread of time roughly equal to my own. So my protagonist, who was 18-20 in the first series, is 32-35 in the second, a mother of three, a ruler who's not had to deal with much turmoil since the end of the Ilian War. Fortunately, she's also an Elf so that decade hasn't really aged her all that much. 

Unfortunately for Tamsen, this second series will be punishing. 

I'm older and wiser in the ways of fantasy, and fantasy itself has changed. I literally used to get hate mail when readers thought I was being "mean" to their favorite characters.  Which, to a writer, is a great compliment. But the fact of the matter is that in old school fantasy, a group of heroes could get through an epic quest and emerge relatively unscathed. look at the Belgariad by David Eddings, for example. Only one major character was killed, and he was only dead for less than an hour. Otherwise, there were no consequences for any of those main characters except happily ever afters. 

Don't get me wrong--I love Eddings. Eddings was the first fantasy author I read back in high school, and in fact the world of Asphodel was created as a result. Not because I wanted to emulate Eddings, but because I wanted to see a female protagonist leading a fantasy quest. 

But now, revisiting Asphodel after more than a decade, I knew things would be very different. 

For one thing, Asphodel is Greco-Roman mythology re-imagined in a traditional fantasy setting. Anyone who knows anything about classical mythology knows that there are terrible consequences for mortals who oppose the gods. Tamsen has been living for a decade and a half as the most powerful mortal in the world. The only way to make a second series work is to make that no longer the case. And if her power is challenged on that level, there must be consequences indeed, not just for her but everyone. 

So for those of you asking if characters die in The Black Dream? Don't ask silly questions. Lots of people die. Lots of people are grievously injured. Lots of people suffer. 

In The Asphodel Cycle, the Huntress posed a single question: What gift can buy the redemption of the Elves? The answer hasn't changed. The answer is still everything.  And prepare yourselves--these characters will be asked to give everything they are, everything they cherish, everything they protect for a greater cause. They have to, or else there's no story. 

And, well--there's a reason this blog is called Elf-Killing and Other Hobbies. 

The Black Dream is darker, grittier, bloodier--more like the Greco-Roman world of its foundation than the fantasy idealism of its setting. The stakes are higher. The characters more dangerous...and in more danger. 

Yes, there will be consequences. Many of them. 

As a devotee of Joseph Campbell's Hero Journey monomyth, I firmly believe in the development of a hero through adversity and fear. But I think the monomyth is changing in current fantasy, and The Black Dream takes the hero's journey and goes several steps past it. 

So prepare yourselves, Asphodel readers. When Tamsen enters the modern twists of fantasy, the journey itself becomes a consequence. 

You have been warned.

I Write...Fantasy Romance? *gulp*

Sometimes, I am not the brightest Crayola in the box.  I was talking to someone the other day about writing, and he said, "So you write romance right?  All the heaving breasts and ripped bodices?"

"No. I write fantasy."

He looked puzzled.  "Isn't romance a fantasy?"

Avoiding the obvious comment I should have made, I replied, "No--think Lord of the Rings."

Yeah, I know.  Although Tolkien probably spins in his grave everytime someone equates his work with fantasy, it is the quickest route to understanding for the genre-impaired.

And then I stopped.  After thinking about it for a minute, I said slowly, "Well, you know--I guess I really do write romance. Fantasy romance."

For some reason, it was hard for my to make that statement.  Why was that?  Every story I've written has a romance woven into it somewhere.  It may not be the focal point of the story--like Tamsen and Brial, for example--but it definitely influences the plot and the character arcs.  I've always thought of my work as straight up, hard core, plain and simple swords and sorcery epic freaking high fantasy.

But it's not. 

I refuse to think it's because I'm a chick; guys write romance too when you get right down to it.  It just feels natural to me.  My characters (and most fantasy characters in my opinion) are in the middle of a high stakes game--for power, for freedom, for humanity...whatever they're fighting for.  In real life, relationships are born and nurtured hand in hand and side by side with stressful situations.  When human emotions (or Elven or trollish, I suppose) are at a high pitch, it just seems natural to me that the door is opened for other, intense emotions.  Emotions like love, for example, which can be wonderful and terrible at the same time.  Love automatically raises the stakes, makes the struggle more intense.  A character has someone else to be concerned with, someone they instinctively want to protect.  Love can divide a character's focus on the battlefield or sharpen it when dealing with Machivellian machinations.  Love can be both a punishment or a reward, depending on how the character sees it.  A character can fight against it nobly, sacrificing her love for the sake of the greater good.  Or she can embrace it wholly, allowing the swift current of love and desperation and determination sweep her up into a maelstrom of emotional turmoil which can mirror the actual plot arc leading to resolution of the conflict or, in some cases, divert that plot arc into some other unforeseen direction.

There's a tendency to think of fantasy romance like some Sleeping Beauty kind of thing, where the hero battles the supernatural to save his endangered beloved--David Eddings' series The Elenium, for example, does this.  Sparhawk has to find a way to free his beloved princess from the gemstone she's been set in to preserve her life.  But that's not all there is to fantasy romance.  Jacqueline Carey's Kushiel's Dart series for example (yes, I gush about her a lot) deals with the love between a courtesan and a priest sworn to celibacy.  Their love hinders the resolution of the conflict, distracting them from things they should be paying closer attention to but, at the same time, strengthens them for the conflict ahead.

So, at last, I was able to look at my conversation partner and admit, "Yeah, fantasy romance. That's what I write."  And as far as I can tell, it's true. 

And if that romance occurs over a big pile of elf guts, well, then everyone is happy.  Nothing like a steaming pile of entrails to give you that rush of butterflies to your tummy.  Who needs roses?  Give me carnage anytime.

Making Something Old Something Better

I run into a lot of conversations among authors about tropes, archetypes and cliches. "How can I write without using the cliches?" "Anyone who writes about Elves is stealing from Tolkien." "There's no way to write something new."

I usually end up in arguments about this. As a classical mythologist, I am convinced that archetypal themes and characters aren't the anathema so many writers think they are. Sure, you don't necessarily want to write abouta farmboy-turned-savior with a magical sword, an ancient mentor skilled in the ways of magic and the stock secondary characters of the D & D world. However, that doesn't mean you have to avoid them either. The hero's journey, as identified by Joseph Campbell, is a route that all good adventures follow. There is a certain path a writer must follow in order to create a hero. And while you don't have to hit every earmark that Campbell identified, you need to hit at least some of them.

So I have an example, not from writing but from popular music. Michael Jackson's song "Smooth Criminal" is not among my favorites. (okay, I hate it) But look what happens when another group takes that song, the archetypal actions of the original artist, and makes them their own.

God love Alien Ant farm. http://www.youtube.com/watch?v=8cJB2Z_aTEQ

Sure, all the familiar elements are there. But the music has been changed, the atmosphere is different, the characters are on a different path. The song is recognizable, but it's been changed from the original into something almost completely alien to the original. We, as writers, can do the same. So don't worry about how Tokienesque your Elves are! Don't sweat over your magical sword/book/ring/necklace/kitten. Just write a good story, tell a good tale, supersede the tropes and make them your own and it will work for you too.

And you won't even need to borrow a baby chimpanzee to do it. You can leave Bubbles at home. What we, as writers, need to be worried about is our narrative voice, the credibility of our characters, the complexity of our plot arcs--telling a damn good story. The rest? It will take care of itself. Oh, and just to top that off, check out Nathan Bransford's blog entry for today. Although he's not saying what I am, this advice from a top and incredibly helpful agent might help you to see the bright side of life. My recommendation: listen to Alien Ant Farm's version of Smooth Criminal while you read it. It makes for an almost orgasmic episode of optimism.

You can take something old and create something entirely new and completely original out of it. So instead of worrying yourself into cold sweats about it, sit your butt in the chair and just write.

Annie, are you okay? Are you okay? Are you okay, Annie?

Asphodel Update and Character Notes

All righty then! As per some questioning emails I have received, I'm going to toss out some background information. Let's get down to brass tacks here.

The Asphodel series (both of them--snort!) has a very strong basis in Greco-Roman mythology, with some additional roots in Celtic, Egyptian, Summerian, and Phoenician lore. Whew! Now that I've established my academic bona fides, let's REALLY talk about it.

Asphodel is epic fantasy, pure and simple. I use many of the fantastical archetypes (see Joseph Campbell's work for examples and I promise that's the last brainy thing I'll say) but....and you knew there was a but....I, er, change them.

*grin*

In a nutshell, here's the series premise: what would happen IF you took the prissiest race in standard fantasy (Elves), warped their patriarchal society to suit your feminist needs, gave them a Greco-Roman pantheon at war and many mythological critters to fight (as well as making up some pretty cool new ones if I do say so myself), give them a magic system that's elemental (and kills them eventually) and then force them to refight the Trojan War? Oh but wait--here's the good part! The protagonist is a female...half-breed...very smartass sort of gal who single-handedly manages to revamp the political systems of both the Elven and human kingdoms, learns to lead men to war, and manages to be a dominant personality while surrounded by alpha males?

*bigger grin*

There are lots of fights, I must admit. Hence the title of this blog. After working on this project for five years, my elf-killing is, of necessity, becoming very, very creative. Still fun though.

Tamsen Ka'antira de Asphodel, my MC, is a life's work. My biggest problem with her is that I know her so well sometimes I forget that you guys don't. Hence this note from my editor:

This might be an area to share with the reader the limits of her
abilities...since she can make fire which isn't weather related (strictly) why
can't she make something else would run through a reader's mind.

Well, duh. You don't remember the two-sentence explanation of that in Chapter Two? *grumble, grumble*

Tamsen was designed to be complex. She's neither a stereotypical wringing-her-hands-and-waiting-to-be-rescued sort of fantasy heroine or a Xena wannabe. She's a fairly normal person save for the extraordinary power she's inherited, and she hasn't got a clue what she should do with that power. That's the crux of her character conflict. For the most part, Asphodel is Tamsen's story, and that story is full of duality. For every point there is a counterpoint, a different path, a completely new destiny with all of the ramifications of that.

She does have a sword...eventually. It's not a *magic* sword though, it's just a very pretty sword. She does have a lot of magical ability, a cross between human and Elven magic, but she can't control it and at times it seems to control her. She has an epic quest that she must follow, but that quest is more along the nature of Heracles and his labors than taking the ring to Mount Doom. The duality of her nature, determined by her two heritages, dictates the paths she must follow on her journey. She is essentially human, which infuriates the Elves around her, but as she evolves she must either accept or amend the strictures of the Elven society.

She's also a smartass who can take care of herself--except those occasions when she needs a little help.

I spent a lot of time developing the political and military situations. I will admit right here to swiping some of Caesar's maneuvers in both areas. The mythology and religion was fairly easy for me (thank you National Junior Classical League for appealing enough to my competitive nature to make me retain all of that information!) and after blending my classical knowledge with the rest of my world, the realms of Ansienne, Leselle, and Spesialle are fully developed and have histories of their own.

Go to my website Shoot The Muse! and check out the excerpt from the prologue. Let me know what you think.

More tomorrow.