Books of the Shaper Archives

Posts Tagged ‘Books of the Shaper’

First Looks: Fall 2013 – Winter 2014 US Covers

The Orbit Team
March 12, 2013

A new season of books is inbound, and it sure looks like it’s going to be an exciting one! Here’s the first crop of covers from the Fall 2013 – Winter 2014 season. We’re still putting the finishing touches on a few more, but you’ll be seeing them soon.

Because the smaller scale doesn’t do any of these fantastic covers justice, click on the images below to see a larger version. So pin, tweet, and comment to your heart’s content and tell us which books are already on your “Must have!” lists!

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Epic Fantasy Interview Swap: John R. Fultz interviews Gail Z. Martin

Laura Fitzgerald
January 17, 2013

Today John R. Fultz interviews Gail Z. Martin about epic fantasy and her new novel ICE FORGED (US | UK | AUS). If you’re just joining us, here is the first part of the discussion.

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John R. Fultz: ICE FORGED is a “fresh start” in a new fantasy world, one that is separate from your previous five books (which were all set in the same world). Why start fresh after six books’ worth of fleshing out your first fictional universe? Along those lines, what was your initial inspiration for ICE FORGED and the Ascendant Kingdoms?

Gail Z. Martin:I love my characters and the world I created in my previous series (Chronicles of the Necromancer series and The Fallen Kings Cycle), but the action had come to a natural resting point. I still hope to tell more stories about that world, but there is a natural break in the action for the characters, so it seemed like a good time to go do something else myself for a while.

I got some of the inspiration for Ice Forged and the new Ascendant Kingdoms Saga series by turning a few elements of my original series upside-down. In my first series, my main character is a necromancer, with very powerful magic. In Ice Forged, my main character has very little magic, more on the hedge witch level of power. In the Chronicles of the Necromancer/Fallen Kings books, my main character keeps magic from failing. In Ice Forged, the magic upon which the civilization depends becomes impossible to harness and wipes out much of civilization. In my original series, my main character was wrongfully hunted as an outlaw. In Ice Forged, my main character not only actually committed the murder for which he is exiled, he is unrepentant about it.

Stories, for me, begin with the question, “What if?” What if…a civilization depended on magic like we depend on the power grid—and the magic could no longer be controlled? What if…the only one who might be able to restore the magic was someone exiled to the farthest reaches of the world? What if…the future of the kingdom depended on a handful of convicts?

My other favorite question is, “And then what?” As I think through a plot, I always ask myself, “And then what?” So they have a battle—and then what? So there’s a confrontation with the forces of the opposition—and then what? So they win a battle—and then what? Even after a victory, there are messes to clean up. For me, that’s where the story starts.

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Epic Fantasy Interview Swap – Gail Z. Martin interviews John R. Fultz

Laura Fitzgerald
January 16, 2013

Today let’s talk epic fantasy with authors Gail Z. Martin and John R. Fultz. Below is the first of a two part interview about writing in the genre and the most recent projects of these two authors. Come back tomorrow for the second half.

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Gail Z. Martin: SEVEN KINGS is your second novel, and you’ve said that you think it is even better than your debut work. What did you learn writing your first book, and how did that affect your new book?

John R. Fultz: What a great question… I think that writing SEVEN PRINCES was very freeing for me because at the time I wrote it I had no guidelines, no publisher, no deadlines, no expectations except those I built myself. I remember telling a friend: “I’m going to write this story and let it be as long as it wants to be, and take as long as it needs to take.” After years of writing short stories it was time to make the transition to novelist, and all the advice I’d been given said “First, you must write the novel—everything else will follow.” So I took a “damn the torpedoes” approach and wrote the novel that I most wanted to write, with all the elements that had fascinated and attracted me to epic fantasy for decades. I came up with some fascinating characters, dropped them into an interesting setting, and basically let them run. It was very cathartic, and I finished the novel in far less time than I thought I would—I had built up some serious momentum. I usually write novels over the summer when I’m not teaching, and I’ve written three more “summer novels” since then. Of course the “idea work” begins months earlier, but summer is my official “writing season,” when I go nocturnal and spend as much time as I want in front of the keyboard. With SEVEN PRINCES I also had some great advice from a local writing group to help me get the early chapters just right.

With SEVEN KINGS, things had changed. New challenges presented themselves, and my priorities were quite different. I had already established a great cast of characters that I loved writing about, as well as the world they inhabited and most of the major conflicts that drove the narrative. The rules of sorcery were there (if not fully revealed yet), as well as the threads of many plotlines that would carry throughout all three books. So my job with Book II: SEVEN KINGS was to “deepen” the pot. I wanted to introduce some new characters, and to reveal more of the mystery that is Iardu the Shaper, including his role in the history of the world. I had always planned to explore the dichotomy of Lyrilan and Tyro as the Twin Kings, two very different brothers attempting to rule the same kingdom. And I knew I would stay with Vireon and Sharadza, the Children of Vod. My Book I antagonists had been defeated but not completely vanquished in the first book, so I needed to take them to a new level. Finally, I wanted to explore more of the deep history of the Shaper’s world, and reveal some heretofore obscure regions of it. This is why I decided to begin SEVEN KINGS deep in the jungles of Khyrei, a nation ruled by wicked powers that the rest of the world hates and fears.

There were also some “happy endings” in SEVEN PRINCES that I always intended to reveal were far from “happily ever after.” For example, Sharadza’s marriage to D’zan seems like a fairytale ending in the first book, but in the second book you find out the marriage is a failure—and for a reason that Sharadza refuses to reveal. Likewise with Vireon and Alua’s seemingly “perfect” family…there is more going on here than either of them suspects and it takes seven years to manifest. Life rarely serves up genuine happy endings, and I wanted to reflect that in this series by going back and showing the consequences of the new situations established at the end of the first book.

I guess you could say my goal with SEVEN KINGS was to raise the bar on the conflict, the characters, the threat, and above all the sorcery. Someone told me that SEVEN PRINCES was really all about sorcery, and I agreed. If that’s true then it also applies to the entire series. In some ways I wanted to subvert all the victories of the first book and show that the real story is far more vast and complex, like magic itself. Hopefully this mirrors how difficult it is to be a King, as opposed to a Prince. A King actually has to rule the kingdom, fight the wars, confront the overwhelming threats, and live with the terrible choices he makes. Kings rarely get second chances.

In many ways SEVEN KINGS is the “Act Two” of the trilogy, and traditionally the second act of any drama expands and complicates the elements of the first act. This is also why the second part of any trilogy is often considered “darker,” and I expect that to be said of SEVEN KINGS as well. It is decidedly darker: The worst is yet to come for these characters and the world they have built. Also, Book II: SEVEN KINGS takes place seven years after Book I, but Book III will take place only seven DAYS after Book II. So there is a much more immediate connection between Books II and III than between I and II.

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IN THE MASTER’S SHADOW: Epic Fantasy in the Post-Tolkien World

John R. Fultz
January 7, 2013

“A single dream is more powerful than a thousand realities.” –J.R.R. Tolkien

Everybody’s talking about Tolkien again.

Peter Jackson’s rollicking adaptation of The Hobbit recently debuted as the world’s #1 movie, eleven years after his first Tolkien-inspired film. Much has been made of Jackson’s decision to expand the one-volume Hobbit into three movies in the tradition of the Lord of the Rings. Fans and critics argue about the wisdom of stretching this one book (itself a prequel) across three films. Yet any discussion of these movies inevitably leads back to the books themselves. And the book is always better than the movie.

J.R.R. Tolkien is to epic fantasy what Jimi Hendrix is to rock guitar; what Edgar Allan Poe is to horror stories; what William Shakespeare is to drama. It is impossible to write an epic fantasy without being somehow influenced (directly or indirectly) by the work of Tolkien. The man did not necessarily invent the fantasy genre, but he did create the modern conception of what epic fantasy looks and feels like.

After Tolkien, any book featuring elves, dwarves, hobbits, and/or goblins was borrowing elements of his work (or accused of “stealing” them outright). The trilogy became the dominant fantasy format. Even the simple orc has become a hugely popular monster, featured in novels, movies, comics, and games to a degree that Tolkien would never have expected. Tolkien’s imitators are legion, and used bookstores are full of novels written “in the tradition of Lord of the Rings.” This has been the state of the fantasy genre for decades.

Yet does Tolkien hold the “copyright” on the epic fantasy concept? How does a modern writer craft an epic fantasy that goes beyond the Tolkien paradigm and explores new ground, without simply remixing and reinventing what The Master has done?

It has been said that “there are no new stories, just new ways to tell them.” This is the job of today’s writer of epic fantasy: To tell a mythic story in some new way.

Fantasy tropes, plots, and devices are recycled endlessly, and that’s only to be expected. Fantasy fiction is the modern equivalent of the myth cycles of early humanity. The heroes, conflicts, and adventures touch on the timeless themes that run through all literature, from Beowulf to The Odyssey, all the way to Lord of the Rings and modern fantasy epics like George R.R. Martin’s A Song of Ice and Fire.

In The Books of the Shaper series I set out to create a world that I would enjoy exploring throughout the course of an epic-length novel and beyond. I knew right away that I didn’t want any of the more commonly used elements of “Tolkien-style fantasy”—no elves, no dwarves, no orcs or goblins. These elements (races) are so quintessentially Tolkien that I had no interest in doing “my version” of them. I love Tolkien, but I didn’t want to be him. I wanted to be myself.

Granted, Tolkien was not the first human being to write about elves or goblins or dwarves. Yet he popularized his personal vision of these creatures to such a towering degree that his take on them has largely replaced the actual folklore that birthed them. There are many writers who are entirely comfortable using elves and similar fantasy creatures in their work—and there is nothing wrong with that in principle. However, when a writer chooses to work with these popular elements he has to leap an extra hurdle of creativity to avoid accusations of “ripping off” Tolkien. Ironically, nobody accuses Tolkien of “stealing” generations of folktales, Nordic legends, and European myth-histories—the actual raw material that inspired his works. Perhaps this is because Tolkien was borrowing from uncounted sources drawn from the depths of time, rather than taking his cue from a single influence.

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SEVEN PRINCES: It’s About Blood

John R. Fultz
December 19, 2011

The cover of the debut fantasy novel ‘Seven Princes' by John R. Fultz, showing a band of princes going to war — Seven Princes – released Jan 2012

So what’s your book about?

Is there any more difficult question for an author to answer? I know I have a hard time with this one. After spending so much time (often years) crafting a novel, living inside the souls of your characters, building the intricate world in which they live, overseeing the progress of an invented history and chronicling the fictional exploits of your literary “children”, it’s hard to encapsulate all the diverse threads of a novel into a single statement.

Yet the market demands a “hook” or “premise” on which any novel can hang its metaphorical hat. After all, if readers don’t know what to expect, why should they even buy the book? Blind faith? Hardly. Word of mouth? Well, that’s the best advertising you can get . . . but consider the irony. If you as the author don’t come up with a satisfying answer to “What’s your book about?” then your early readers and reviewers are going to do it FOR YOU. They’re going to summarize, encapsulate and foreshorten your Massive Undertaking of Artistic Purity to a description worthy of a sound-byte (or at least a Facebook update). So authors are better-off coming up with their own answer to this big question, rather than leaving it up to somebody else to explain.

All of this begs the question: “What is SEVEN PRINCES about?”

If you look at the cover text, SEVEN PRINCES is about war. “An age of legends. An age of heroes. An age of war.” Now that’s a great tag line. It’s engaging, evocative, and it rings with mythic resonance. Ready for more irony?

Here’s the thing: I never considered this book a “war novel” when I was writing it. Yet war itself is definitely one of the themes that drives the characters and the plot. Some characters want to prevent war—they know the red tragedy and the pointless slaughter that it brings—while others actively seek war to prove themselves, to avenge wrongs, or simply as a means of grabbing power. So the concept of war itself is definitely buried in there. There’s even a conversation at one point between two characters who argue about the essential nature of Man as a war-like being. Is Mankind capable of living in peace—true peace—for long? That’s a question that also lies at the heart of SEVEN PRINCES. So yeah, it’s about war. But it’s also about a lot more . . . (more…)