Pleased to say that today I’ve been joined by Terry Mancour, author
of the Spellmonger series (10 parts currently and still going
strong). There are some spoilers in the interview below.
What's
the premise of Necromancer, the tenth and most recent instalment in
the Spellmonger series?
Necromancer is a climactic book, in a couple of different ways.
First, it’s the tenth book in the series, and hitting double digits
deserves some celebration, plot-wise. There are elements that I
brought up in Spellmonger, Book 1, that I didn’t revisit until Book
10. Secondly, it’s also the conclusion of a trilogy (quadrology?),
of sorts. Books 8 (Court Wizard) and 9 (Shadowmage) take place
partially concurrent with Book 7, Enchanter, but from different
character perspectives. In Necromancer I had to unite those three
disparate character and plot perspectives and put Minalan back into
the picture, character-wise. All of those deeply personal questions
that arose at the end of Enchanter had to be answered.
Plot-wise, Minalan the Spellmonger is in rough shape . . . but he has
hope. It involves an impossible quest and a tricky set of moves in
which he manipulates everyone he needs to, from his own vassals to
the very gods, to get what he wants. Thematically, it’s a
quasi-Orphic quest in which he goes into both a figurative and a
literal Land of the Dead in order to bring his wife, Alya, back from
a persistent vegetative state. It’s a fight between Min’s ego
and intellect and the dark forces around him – not all of which are
readily apparent. He emerges from a dark place, by the end of the
book, but only at great cost.
The
early books focused very much on the goblin threat, but more recently
it’s on the backburner. Can you tell us whether the Dead God and
his goblin hordes will be coming back soon, or even at all?
The role of the gurvani (goblins) has changed, since Spellmonger, but
they are still very important to the over-all plot, as is their
fossilized Dark Lord. As truths about Callidore’s past get
revealed, Sheruel’s simple desire for genocide will seem quaint and
wholesome compared to Korbal – or, at least, the reader might feel
a little more sympathetic to the gurvani. They have been kicked
around by a lot of different peoples over the years, and they feel
sidelined by the Nemovorti. They were finally on top, with an undead
Dark Lord of their very own, and now this! They very aren’t happy
about it. We will see Sheruel again, and the rise of the Goblin King
as rebels against Korbal’s betrayal. Gurkarl will decidedly play a
role, because yes, I enjoy drawing out plotlines that far for the
pure hedonistic joy of it.
There
are many parts already in the series, and many planned ahead. How
much detail have you charted out the course of future books, or do
you make a vague outline for each planned instalment and only develop
it when you arrive at that book?
In some cases, quite a bit. I know how it ends, more or less. I
know what has to happen for the end to happen. I know the cool
scenes I want to write. But there is much undiscovered country along
the way, and part of the joy for me, as the writer, is having
unexpected stuff fall out of my brain and onto the page. I know we
can expect to see some familiar fantasy tropes tackled in a slightly
new or different way.
Min will go on the road, during his exile, and there will be a lot of
adventures before the end. But I’ve learned not to over-plot my
books before I’ve started them. That’s boring for the reader and
for me. And its too much work. It’s easier to hitch my
subconscious to the plow of my keyboard, or somesuch other analogy,
and let it do the heavy work. That opens my writing up to
spontaneous inclusions of interesting bits of stuff I pick up in my
research.
Writing
a series offers both writer and readers the ease of a consistent
world and characters, as well as enabling for more character depth
and development than a single volume, but keeping consistency without
making things repetitive or ‘samey’ can be tricky. What’s the
greatest challenge you’ve found writing a series which is now up to
part 10?
Thankfully, while the piano only has 88 keys they still keep getting
new songs out of it. Fantasy is much the same. Both J. R. R.
Tolkien and George R. R. Martin use the medieval European fantasy
setting, dragons, swords, magic, etc., but they are two entirely
different stories. Hopefully, Terry R. R. Mancour will be able keep
playing across those tropes in an entertaining way.
The episodic format of series fantasy fiction is helpful. But it’s
also important for the writer to not abuse that. I make a point that
each of my novels is a complete novel, in itself, not merely a
section of a larger work. That means they need a beginning, a
middle, an end, a plot, character development, and the rest.
Part of that can rest on the natural progression of events and
character development. If you do it right, and understand human
nature sufficiently, then figuring out how your character is going to
change and develop in response to the course of events isn’t as
hard as most writers seem to make it. In Enchanter, Minalan
underwent stages of psychological response to a major personal
trauma. That’s a pretty clear course of development to follow, and
it gave the story greater depth without a lot of psychobabble. Or
not much.
Part of that has to be supplied by the author applying a different
approach or perspective on the same old medieval fantasy tropes. I
find I take a lot of inspiration from significant events of the
Middle Ages. Journeymage, for instance, was inspired by the
Children’s Crusade.
Thankfully, the Middle Ages had a lot of fascinating stories that
Fantasy literature has endlessly reinterpreted. While knight vs.
dragon, elf vs. dwarf, etc. has had a lot of play, there are plenty
of great tropes I haven’t used yet. In the future, expect some
stories and plots revolving around the plague, voyages of
exploration, peasant’s revolts, pirates, a succession crisis, and
perhaps even the Inquisition. I’ll also be doing some
more-familiar Fantasy tropes, such as the Dragon’s Lair, the Secret
Cult, the Lost Civilization, the Ancient Evil, etc. Any of these is
enough to hang an entire novel on, if you do it right. Mixing and
matching them in the Spellmonger universe is a joy, and I have a long
way to go before I start running short of material.
The
series is focused entirely on Minalan to start with, but more recent
instalments have seen other perspectives become increasingly
important. Was this always planned, or did you feel that either
telling the story or offering a new point of view was necessary to
keep things fresh?
At a certain point, I think you have to vary the perspective in order
to keep the reader’s attention. Consider that an awful lot more
happened in the Civil War than what Rhett Butler saw and experienced.
Offering those different perspectives allows you to give true depth
to your world-building. It also allows the author to inject
differences of perspective that can be jarring.
A case in point is how I handled the character of Dara in
Necromancer. Dara has been the lead in the Young Adult/Cadet
spin-off series I’ve done chronicling the events of the Spellmonger
Series from her perspective. An adolescent girl and a middle-aged
man see things very differently, and their perceptions of each other
are as flawed and biased as anyone’s. I caught some flak from fans
about how Dara, after being a strong and resilient character in one
series, seems to be a whiny and self-absorbed girl in the main
series.
Here’s the thing: to Minalan’s perspective, she is a whiny and
self-absorbed girl. But Min’s perspective is informed by only a
few brief scenes, not the introspection that Dara is undertaking as
she moves from childhood to adulthood. To her, Min is a wise and
powerful wizard who always knows what to do, not a self-doubting and
sometimes self-loathing mage who frequently feels he’s in waaaay
over his head. Which perspective is the “true” one? Neither.
Each is just as valid, and by shifting viewpoints and characters to
review the same events I hope to build up a tension that eventually
erupts into conflict between the two.
A similar thing occurred with Pentandra. Responding in part to the
popular ideas that a) there were no good female leading characters in
Fantasy (which I dispute) and b) that men could not write good or
convincing female characters, I wrote Court Wizard from Pentandra’s
perspective. Within the novel she sees quite a bit of Callidore’s
society that Minalan doesn’t, thanks to both her class and her
gender. More, I had to change not only the nominal gender of the
main character, but had to work to understand her perspective myself.
Regardless of the politics of the moment, men and women generally
tend to approach the same situations from slightly different
directions. While there are notable exceptions, writing a female
lead convincingly had to encompass some of these basic differences or
Pentandra would have just sounded like Min in drag. No one wants
that.
The further excursions into perspective, specifically Book 4, Knights
Magi, and its more-or-less sequel Book 9, Shadowmage, explore the
relationship with Tyndal and Rondal, Min’s senior apprentices.
They’re undergoing an entirely different journey than Dara. They
have different motivations and seek different risks and rewards. And
they all see Callidore differently.
It’s not just a matter of keeping things fresh. Changing
characters and perspective can serve the greater story when the
reader knows things that the main character doesn’t. In fact,
keeping track of who knows what, when, and how that advances the plot
is something I spend a lot of time on.
Your
books are selling nicely and well-reviewed, but do you ever want a
break from the Spellmonger world? Are you working on anything
else/have other plans, or are you just enjoying writing the series?
I’m so glad you asked! I am absolutely devoted to the Spellmonger
series – it’s like a rich mug of ale. But I have two sci-fi
series underway, at the moment.
The first is my Tanith series, a continuation of H. Beam Piper’s
classic space opera novel, Space Viking. After the original author
tragically committed suicide with no heirs, his work became public
domain. I’ve written two short sequels to the original already,
Prince of Tanith and Princess Valerie’s War, and I’m working on a
capstone finale to the work now, called Trask’s Odyssey.
And I will be totally honest: one reason it’s taking so long to
produce the final book is that I’m enjoying it too much. If
Spellmonger is like a rich mug of ale, then the Tanith Series is like
a dirty double martini with three olives.
Secondly, I have a second sci-fi trilogy I’ve begun publishing. I
won’t get into the background of the work here, but it’s an
original time-travel piece that’s also (wait for it) openly
pornographic. Sexually explicit. With all the best dirty words.
It’s called the Casanova’s Butterfly trilogy, and the first book,
Bad Penny, was released last summer to generally good reviews. I’ll
be releasing the other two parts this summer and next, respectively.
It’s already written, I just want to space it out because I’m
like that.
It’s a trashy beach read and a lot of fun for any student of
history or erotica or both. The main character is an anti-hero
Pick-Up-Artist who goes pro by joining an elite government-sponsored
time-travel program which goes back in time to insert certain genetic
corrections into the human genomes to avoid a future catastrophe.
The Old Fashioned Way: by seducing your grandmother. Most of the
MC’s work is in the mid 20th century, the 1940s-1970s, one of my
favorite historical periods. Along the way, the character’s hubris
and arrogance screws up the time stream but good. If Spellmonger is
a rich cup of ale, Casanova’s Butterfly is like a classic Manhattan
with a roofie in it. I like to think of it as the Thinking Man’s
porn novel.
The
Spellmonger series is classic high fantasy. What were your
inspirations, whether fictional or (for the political side, probably)
real life?
It goes without saying that Tolkien is my bedrock inspiration, and my
appreciation of the Professor grows every time I start another book.
I also credit George R. R. Martin for some inspiration, because I
began reading him before Game of Thrones and enjoy his approach to
prose.
Other influences may be more obscure or subtle, even when I try to
make them blatant, but here it goes: First and foremost would be
Steven Brust’s Adrilankha series. My approach to Min’s character
is closest to how Steve handles Vlad, his main character. Careful
readers of both series will recognize me blatantly ripping off
Steve’s character for a kind of cross-platform cameo in Shadowmage.
But Steve’s wit and humor informed Min, and his approach to a
well-drawn character is something I am proud to have stolen from him.
Brust is the spiritual heir of Roger Zelazny’s amazing style, and
I can’t recommend his stuff highly enough. Zelazny, himself, is a
huge influence as well, particularly the Chronicles of Amber and the
Lord of Light, but I even tracked down his “hard boiled detective
novel” from the 1960s, and it rocked.
Another powerful influence was Anne McCaffrey’s Dragonriders of
Pern series. Even though it has dragons and castles, it isn’t
Fantasy. Not a lick of magic in it. It’s high-concept Sci-Fi with
really good characters. Much of my cadet novels were cribbed from
her Harper Hall YA trilogy. Another was Andrew Offut, who might be a
little obscure for some folks but who did some great work back in the
1970s and 1980s, particularly for the Thieves’ World
shared-universe series (for which Brust contributed a story, last
volume). If you aren’t familiar, Thieves’ World was a wonderful
collection of fantasy stories that really demonstrated the chops of
some of the better fantasy writers of its time. Offut’s stories
always impressed me the most. His original novels were likewise
superior, though he didn’t get the acclaim that he deserved for
their quality. Andy Offut knew how to get the most out of his
characters, especially the minor ones, and when I need inspiration I
frequently turn to his stories in the anthologies.
I’d be remiss if I didn’t mention Fritz Lieber and Robert Howard,
whose magnificent bodies of work informed the adventurous imagination
of my childhood and occasionally leak all over Spellmonger. They
made the world safe for brawny-thewed barbarians everywhere.
Non-literary influences should be included. Count the Boy Scouts and
Dungeons & Dragons (which I was, incidentally, introduced to in
Boy Scouts by Chris Evans – thanks, Chris!) as among my strongest.
The BSA led, of course, to the Kasari culture in Spellmonger, and D&D
has been a constant source of both inspiration and research.
Looking
back at the 10 parts to date, which character (whether major or
minor) have you found most enjoyable to write, and why?
I have a few favorites, and I’ll take the various main characters
off the table for the sake of this question. Writing Crazy Alya was
fun, largely because she’s usually so level-headed. I love writing
the various Wizards of Sevendor, especially Olmeg the Green and
Banamor. Both are based on people I know. Gatina the Kitten was a
delicious delight to write, because she combines utter commitment
with youthful enthusiasm. Onranion is a blast because he just
doesn’t give a crap, and so is the Sorceress of Sorsha Wood,
Lilastien the Rebel, M.D., the last remaining member of the Callidore
Colonial Medical Service.
I love Sire Cei. I love writing Azar. There are characters that I
absolutely love and who I haven’t even gotten to, yet. And yes,
sadly, some won’t make it. But I have plenty to work with, and as
long as I can keep them all sounding different and exciting, we’ll
keep seeing them. Some will even get their own books. Banamor,
Olmeg, Sire Cei and Zagor the Hedgemage will all get separate stories
focusing on their perspectives, hopefully this year. Others will be
explored in the future.
I thought I might tell this one from the vampire’s point of view.
Seriously, Book 11 begins the second major arc of the series. The
first ten books (decalogy) is The Spellmonger Ascendant. The second
ten will be The Spellmonger’s Exile. In the first series, we see
the rise of Min from lowly village spellmonger to senior noble of a
unified kingdom. We saw how he built Sevendor from scratch and
changed the feudal society he found himself in for the better: Magic
in the Service of Man.
The second series will go a little darker. Now that Min has been
exiled from Sevendor for at least three years, and then put
unexpectedly in charge of the Magelaw, he has an even greater task
ahead: building Vanador, a city designed to challenge the might of
the various Dark Lords directly, without messing around too much with
the rest of the Five Duchies. He has recovered his family, somewhat,
and finds himself threatened in ways he never suspected once he
becomes Count of the Magelaw.
In one way, the pressure has never been higher. At the end of
Necromancer we saw our understanding of the war, so far, challenged
by events and revelations from the past. Humanity has finally caught
the attention of the Sea Folk, and now Min has to figure out what to
do with it . . . as well as solving the complicated thaumaturgic
puzzle of how to re-create the freak Snowstone spell. His wife is
only beginning to recover her sanity and her fragmented memories. He
faces a dauntless foe with very few resources or advantages, and no
allies nearby to speak of. His political situation has never been
more dire, and the future looks grim.
Yet in another way, Min has never been happier. The accomplishment
he feels after retrieving the Handmaiden in Necromancer gives him
great power, and he doesn’t see the various threats to Vanador as
serious, compared to Korbal and Sheruel. The goblins are fighting
each other, for a change, and the thousands of former slaves he
helped free are struggling to rebuild their shattered lives in a
shattered and depopulated land. Min has learned how to develop a
country, thanks to Sevendor, and he has a lot more help this time.
He’s living where he originally wanted to (more or less) with the
girl of his dreams and their children. His enemies are far away and
think he’s been bound by his exile, when nothing could be further
from the truth. In fact, Min sees his exile as a means of catching
up on some important work while allowing Sevendor to grow naturally,
without his direct guidance for a while. In a way, he’s off the
game board of Kingdom-level politics. In a way, he’s at the center
of it.
It’s a time of restful watchfulness and preparing for future
battles. A time of repose, reflection, rebuilding and consideration
of the future. So, nothing of consequence happens. I anticipate
that it will be a really long and boring book on peasant market
economics and the fascinating study of crop rotation’s effects on
overall productivity and peasant farmers’ risk management schemes.
I foresee some fascinating discussions on comparative thatching
techniques. Perhaps some titillating debate about the differences
between canon and secular law. Livestock will be discussed in depth
and detail. There might even be some authentic pottage recipes, if
you’re good.
There will be a mix of old characters and new. To the fore will be
Tyndal, Gareth, Ruderal, Carmella, Azar, Wenek, Sandoval, Terleman,
Landrik, Caswallon, Thinradel, Cormoran, the Dradrien, and others.
On the back burner (in the “Meanwhile, Back In Sevendor . . . .”
sense) will be Rondal, Gatina, Pentandra, Anguin, Sire Cei, Banamor,
Olmeg, and Dara. Ithalia and Onranion will be present. Varen,
Fallawen, and Lilastien will have cameos, at best.
We’ll also see some new folk in the woods of the Wilderlands:
Rumel’s people, commonly known as Wood Dwarves. Durin’s Folk,
they ain’t. Some new critters we haven’t seen before, including
powderhorns and shapeshifting predators. We’ll see how someone
other than Dara commands a wing of Sky Riders. We’ll start to get
to know Min’s kids as more than names. Including the children of
Greenflower. We’ll see what light an ancient AI from humanity’s
past can shed on the current colony’s precarious position. We’ll
find out more about the Forsaken. And we’ll see just who among his
many manly minions Korbal considers powerful enough to challenge the
Spellmonger.
As to when it will be out, that’s difficult to say. It takes a
while to craft a book like that, a lot of research and a lot of
writing. I took much of this year off of Spellmonger to prepare for
the next series and finish up the audiobooks for the first one. I’ve
committed to publishing three other novels and some stories before I
even get there. I’m also feverishly working on additional texts,
like the Atlas of the Five Duchies and a FRP module and sourcebook,
in conjunction with superfan and recognized Mage Knight of Sevendor,
Aaron Schwartz. I need to continue my marketing efforts and my
development efforts. I’d really like to see some elements of
Spellmonger in an AV format, someday, and have been working in that
direction. I’d also be interested in exploring a comic adaptation,
if I could find the right artist. I’ve been looking for a few
years, now, but haven’t found someone who can do it, yet.
All of that being said, I can make this simple guarantee: YOU WILL
SEE BOOK 11, THAUMATURGE, BEFORE YOU SEE WINDS OF WINTER. Likely
sometime in early 2019.
So, suck it, George R. R. Martin.
Links:
Thaddeus
Great to hear all this news because the blog has been quiet! Happy writing!
ReplyDeleteSuch a good interview, I love hearing what makes authors tick, especially liked the level of detail Terry was giving.
ReplyDeleteThe Spellmonger series has become a bit of an obsession for me, can't wait to resume the ride
The heat death of the Universe will occur before Winds of Winter is released.
ReplyDelete