Author Interview - Jason Dorough

Hello and welcome to our latest author interview with fantasy author Jason Dorough!

Please tell us a little bit about yourself and your writing.

I'm Jason Dorough, and I am a fantasy author and voiceover artist. I also create content on BookTok and am an advocate for indie publishing. I'm originally from Georgia but now live in the Orlando, Florida, area. I primarily write epic fantasy and am in the process of writing a 9-book series called Teshovar. It's set in a realm where magic exists but is outlawed. The first full novel is Akithar's Greatest Trick, and that's preceded by a prequel novella called The Gem of Tagath.

Who would you say your biggest literary influences are?

Lloyd Alexander is the author who first got me interested in fantasy, but my own writing is usually compared more closely to Brandon Sanderson and Leigh Bardugo. I grew up reading Agatha Christie, and I feel like some of her influence can be seen in the mysteries and twists that are woven into my stories.

How has the history of the middle ages impacted/influenced your work?

I feel like that period of history has impacted nearly all western-written fantasy by making a lot of tropes in fantasy settings pretty common. Having second-world fantasy stories set in worlds that resemble medieval Europe is almost a default for many authors. My own world of Teshovar has a complicated history that has been manipulated by an ancient sorcerer who has influenced the pace and direction of progress across technology, science, and society. While some aspects of Teshovar do still resemble Europe's Middle Ages through architecture, martial focus, and some weaponry and traditions, other aspects of the world have progressed to a level similar to what was seen in the Victorian era in our world.

Do you feel like your writing has been impacted/influenced by Tolkien? If so, in what way(s)?

I firmly believe Tolkien has influenced everyone currently writing fantasy, whether directly or indirectly. My fantasy stories do not focus on quests, and I don't write about non-human races, but I'm still very aware that aspects of Tolkien's approach to worldbuilding probably inspired some of my own approach. I haven't detailed the history and lineages of Teshovar as extensively as Tolkien did for Middle-Earth, but I still made sure to know the broad strokes of what happened thousands of years ago and how those events informed and affected the current events of the narrative.

What do you think the current innovations in your genre(s) are?

Cozy fantasy and romantic fantasy are very big in the fantasy genre right now, but neither of those are in the area where I'm writing. I do think that, even though big series are still the norm for epic fantasy, there is more opportunity for standalone books now than there has been in the past.

What is something in your genre(s) you'd like to see more of?

I'd like to see more cross-genre experimentation. I view fantasy as being more a setting than a genre, even though it's convenient to discuss fantasy as a genre. When I write, I think of my books as belonging to genres that are specific to the stories they tell. For example, The Gem of Tagath is a heist story set in a fantasy world, and Akithar's Greatest Trick is a cat-and-mouse thriller set in a fantasy world. Many other authors are playing with tropes and genres in this way, and I'd love to see that trend growing and continuing.

What is something in your genre(s) you'd like to see less of?

I believe there's an audience for every book, and just because I'm not in the audience for a particular type of story or trope, that doesn't mean someone else won't love it. Because of that, I don't think there's anything that's big in fantasy right now that I'd like to see less of. I do feel like we never need harmful fiction that reinforces negative stereotypes or does injury to real-world people or groups, especially those that are already marginalized or oppressed. Those are things I'm happy to see less of, but they fortunately are not predominant in most widely-read fantasy at this point.

Is there anything else related I didn't ask a question about that you'd like to add?

As background for my own knowledge of and exposure to Tolkien, I first read The Hobbit when I was in elementary school, and I read Tolkien's translation of Sir Gawain and the Green Knight in high school, but I didn't get around to reading anything else from him until much later. I saw the Peter Jackson Lord of the Rings movies when they released in theaters and then read the books shortly after that. I am still daunted by The Silmarillion and haven't ventured into reading that, but I hope to work up the courage one day!

Where online can our readers find you and your work?

My website is JasonDorough.com, and all my books and social accounts are linked at https://linktr.ee/jasondorough . I am most active on TikTok and try to post at least a couple of new videos there every day.

Jason, thank you so much for the interview and sharing your interesting answers with us!

Author Interview - Graham McNeill

Hello and welcome to our latest author interview with Graham McNeill, fantasy/sci-fi author and video game writer!

Please tell us a little bit about yourself and your writing.

My name’s Graham McNeill, and I’ve been a published writer for just over twenty years now. I started out writing adventures for our games of D&D that rapidly expanded in scope to encompass large-scale battles with the fate of the world at stake, etc. and RPG rules aren’t really set up to handle mass-battles, so I turned to Warhammer, then in its Third Edition. I really got into the tabletop wargaming side of things, to the extent that it kind of took over. I wrote fiction for each of the armies I collected, as well as stories that added a narrative element to our battles; who was fighting and why, what the outcome meant for the ongoing campaign and suchlike. That led me to doing actual stories and eventually a novel, which, for all it’s many flaws, has a lot of the seeds, themes, and archetypes that still permeate my fiction. 

I was fortunate enough to land a job at Games Workshop, back in the year 2000 and worked there for the next six and a half years, first as a staff writer, doing background articles, hobby reports, etc., until I did some work for Gav Thorpe’s new game, Inquisitor. And from then on, I was working on Codexes for Warhammer 40k, Army Books for Warhammer, and Supplement Books for Lord of the Rings strategy battle game. While I was at Games Workshop, I’d done a few short stories for Black Library’s story magazine, Inferno! and they’d gone down well, so they asked me if I’d like to write some novels for them, which was a no-brainer for me. So, along with my day job in the Design Studio, I wrote a slew of novels for Black Library, starting with Nightbringer in 2002. More followed until I left Workshop late in 2006 and plunged into the choppy waters of freelance writing, which was often stressful, but always great fun.

Over the next ten years, I continued to write more novels, short stories, comics, etc. until eventually I left the UK to join Riot Games in the US, where I’ve been happily ensconced in Los Angeles for the last eight years.

Your favourite thing you've written or published?

That’s an impossible question to answer. Over the years, I’ve written around forty novels and over a hundred short stories, so picking a favourite is like picking a favourite child. Having said that…the story I’ve just written always seems to be my favourite, at least until the next one. But in an attempt to give you a proper answer, I think you start every story with a ton of things you want to accomplish with it, beats you want to hit, themes you want to explore, character moments you want to see realised as you imagined them in your head. Most often, you get some of that, but it’s rare you ever hit all the marks you aimed at when you set out on the journey of the novel. But of all the books I’ve written, the one I feel I managed to hit the most of those marks was probably, A Thousand Sons, though Heldenhammer, the first book of the Sigmar trilogy was where I got to unleash my inner Robert E. Howard, and Nightbringer will always have a special place in my heart, as it was my debut novel. I don’t often go back to reread my stuff, beyond fact-checking, and reestablishing a tone if I’m doing a sequel, but the only novel I’ve written I’ve ever gone back to and read again, cover to cover, was The Ambassador Chronicles. As for short stories, The Last Church has probably been the one I was most proud of in how it challenged me, the readers, and Black Library, as it’s basically two guys talking, without any shooting or getting into combat – in an IP where those things are pretty much de rigueur. So, yeah, you see, it’s a hard question to answer, because there’s already a bunch of other stories crowding into my head, saying, ‘What about me!?’

Who would you say your biggest literary influences are?

Well, it would be remiss of me not to mention Tolkien, as he stands so tall over the fantasy genre, and I certainly remember loving The Hobbit and The Lord of the Rings as a young reader, but the first fantasy book I remember reading was Alan Garner’s The Weirdstone of Brisingamen. All of those books, together with the works of Robert E. Howard, Raymond E. Feist, Lovecraft, Terry Pratchett, Douglas Hill, and David Eddings, et al cemented my love of fantasy, but as to the biggest influences on my writing, I’d have to say that David Gemmell and Clive Barker have exerted the greatest narrative centre of gravity. I love Gemmell’s earthy heroes and the grit he brought to the genre, and Clive Barker’s ability to craft beauty from the grotesque really appealed to me.

Do you feel like your writing has been impacted/influenced by Tolkien? If so, in what way(s)?

I think all of us who write in the fantasy space have to say we’ve been influenced to a degree by Tolkien’s writing, either seeking to emulate it, be inspired by it, or to actively subvert it. Like it or not, so many of the fantasy tropes we take for granted come from his work, and I like to see myself as a tiny part of the continuum that stretches out from his work. Given a lot of my work has been for Warhammer, it’s impossible not to have felt his influence and work in a genre and IP that takes a lot of its inspiration from the worlds of Middle Earth. Though Warhammer has its own quirky, dark, 80s vibe, the threads of Tolkien’s work are evident in the warp and weft of its fabric. The thing I take most from the works of Tolkien is the world-building, the way he was able to make a fantastical land feel real and lived in, with its own history and culture that felt worn in and believable. I’m a big believer in making my worlds feel like, no matter the fantasy trappings of magic, dragons, etc., they feel authentic beyond that first impossible thing, that all other things naturally flow from the notion that such things are real in this world.

How has the history of the middle ages impacted/influenced your work?

Building off the last point, I try to make my works feel as believable as possible and I love to incorporate real aspects of history and ancient warfare to make them feel authentic (though in many cases, real history is far more outlandish than fiction!). I feel that if you can ground your world and characters in something that feels real and tactile – without choking the reader with your research – it makes the fantastical elements really sing and gives an air of realism to events and narratives that might otherwise feel over the top. There’s too many to mention, but I want to single out the work of writers like Michael Livingstone and Kelly DeVries (Medieval Warfare, Never Greater Slaughter) whose books have been tremendously useful, alongside James Romm (Ghost on the Throne), Christopher Duffy (Fire and Stone), and E. Viollet Le-Duc (Annals of a Fortress), all of whom have greatly illuminated me on ancient histories and the science of fortress warfare.

What do you think the current innovations in your genre(s) are?

I’m not sure about current innovations, but one thing fantastical fiction is exceptionally good at is holding up a mirror to the world and using genre stories to offer critiques on modern society by taking contemporary trends and taking to their wildest extremes as cautionary tales. SF tales in particular (but also fantasy, more and more) are great vehicles for addressing a current situation by stealth as it were, and showing what might happen tomorrow if we don’t take action today. And, though I don’t think it should count as an innovation (and has been far too long in coming) the fact that we’re seeing new voices and new stories emerge from an increasingly diverse pool of writers, is only to the benefit of the genre and readers as a whole.

What is something in your genre(s) you'd like to see more of?

Stories that break new ground, either in the kinds of characters we see represented or doing something new with the types of plots and structures we often get retold to death. Stories that subvert traditional narratives and challenge a reader to hold on as the writer trusts them to handle ambiguity and/or make leaps of faith and know that all will be well by the end.

What is something in your genre(s) you'd like to see less of?

I’m a big believer in trusting that the reader is clever and doesn’t need the handholding some stories believe they do. If you give the reader enough of the story that they can fill in the blanks, then you don’t need to spoon-feed them the plot and have the, “As you know, Susan…” exposition conversation. Which isn’t to say you shouldn’t have all the things in there you need or miss things out deliberately, just to be intentionally vague, but if you’ve done your job right, the reader can figure it out and feel like they’ve been part of the story as well, that you’re not talking down to them and explaining things they’ve already figured out.

What are your favourite themes to work with or write?

I love a good underdog story, so a mission against impossible odds is always a favourite, as is the story being told at an inflexion point where a small number of plucky heroes can make a difference. One of the features of Warhammer writing, especially in its 40k setting, is the grimdarkness of it all, where there are no heroes and (almost) no happy endings. To me, that can get a bit bleak and nihilistic, so, much like in Pandora’s Box, I think there always needs to be a sliver of light against the darkness to make the struggles of the characters feel worthwhile. I mean, if there’s nothing to strive for, then what’s the point? I want my readers to empathise with the characters and their plight, but if you know they’re 100% doomed from the outset, then I feel a reader creates a kind of distance from them, which is the last thing I want. An emotional connection to the characters and their plight is key to hooking a reader, and making them feel something – for good or ill – is what makes a good story great.

Is there anything else related I didn't ask a question about that you'd like to add?

Hmmm...not sure. I suspect the only thing I’d like to add is a thank you to all the readers who’ve come with me this far, and a genial hello to those that might like to begin with one of my books. So, if you like gothic space adventure, then I’d heartily recommend my Forges of Mars trilogy, that starts with Priests of Mars. But if fantasy is more your thing, then you can’t go wrong with the Sigmar trilogy, which starts with Heldenhammer. 

Where online can our readers find you and your work?

Most of my work is available at https://www.blacklibrary.com/ and you can see me and my work at www.graham-mcneill.com which has a Contact page, where you can drop me a line if you feel so inclined. And, for now at least, I’m on Twitter at @GrahamMcNeill

Graham, thank you so much for the interview and sharing your thoughtful answers with us!

About the Carolina Crown 2023 Show

𝔊rowing up, I was surrounded by musicians. My great uncle had been a touring performer in decades past and was still playing local gigs while I was in elementary school. When I was in middle school and had signed up for band, myself, he and my father both played in a local big band--and this in the mid- to late-1990s, when swing music was experiencing a resurgence in popularity. My dad had himself been in marching bands in his younger years, and I remember him telling stories of taking part in drum-and-bugle corps contests in the American Midwest--as well as taking me to similar contests when they would come through central Texas. Band was a large part of my growing up, and it remained so after I moved back to the Texas Hill Country from years living elsewhere.

The show banner
Image from the Carolina Crown website, used for commentary

When, then, I saw that DCI's Carolina Crown would be marching a show titled "The Round Table: Echoes of Camelot," I was very interested (even if circumstances conspired to keep me from attending performances or addressing the show until now). I'm a medievalist (specifically a Malorian, per my dissertation) and an old band-nerd; how could I not be interested? After watching a recording of the show (by ObiWannaBrick31), I note that, although the show is excellent (and it is excellent; not for nothing did it take second place at the 2023 World Championship), it falls into common traps of medievalist based-ons and modern retellings.

There are a couple of caveats to note, of course. For one, the performance is only some thirteen and a half minutes, and it is put on by (talented, skilled, and dedicated) children and young adults (DCI performers range in age from 13 to 22). There's only so much that can be fit into so short a time, so some things will necessarily be left out. Too, there's only so much time to learn things that someone no older than 22 can have, and most of what the performers have clearly learned pertains to the show--how to play their instruments (again, exceptionally well; I do not want to be misconstrued as denigrating the performers' efforts) and to move their bodies in singularly demanding ways, and in concert with one another. The people putting on the show are not experts in late medieval literature, and certainly not in Malory's work upon which the show is avowedly based; they are doing the best they can (which, again, is quite good work as a musical performance).

It is the case that there are things the show gets right. Given the age-range of the performers, the featured King Arthur--clearly delineated by the royal purple--is necessarily young and presumably impetuous. In the show, the colorguardsman who performs the character shows enthusiasm that bespeaks vital adolescence, very much the kind of thing to be associated with the sometimes rash king. (Let us not forget that Malory's Arthur orders mass infanticide, surely an ill-considered act, and is rebuked by Merlin for not thinking through things presented to him.) The Round Table featured prominently in the show--center-field at the 50-yard line--borrows with only little amendment from the Round Table in Winchester's Great Hall. Further, the instrumentalists adopt a pose at several points in the performance that brings to mind the exaggerated postures associated with instrumental musicians in medieval illuminations such as that at the foot of fol. 97v of Bodleian Library MS. Bodl. 264. Finally, as I watched the show again, I saw in its ending at least echoes of the hic jacet Arturus, rex quondam rexque futurus with which Arthur's part in Malory ends. There are several other such touches to be found in the show, and it is consequently clear that those who worked to put it together did so with at least some idea of their source materials--which is better than many other medievalist works that might be found.

The show's King Arthur and his Round Table
Image taken from ObiWannaBrick31's recording,
posted to YouTube and used here for commentary

A stricken pose
Image taken from ObiWannaBrick31's recording,
posted to YouTube and used here for commentary

So much said, however, and as aforementioned, "The Round Table: Echoes of Camelot" suffers the same kinds of problems many medievalist works do. Among them is the intense compression of time imposed upon the premodern, something I've discussed before. Examples begin with the opening of the program and the performers' uniforms. Those of the drum majors and instrumentalists are shaped and textured to evoke chain mail supplemented by selected inclusions of plate, somewhat bringing to mind the 1995 First Knight--a distinctly medievalist move to make. But the tabard- or surcoat-like portions of those uniforms feature artwork reflecting distinctly post-medieval techniques and sensibilities on the front and what very much appears to be Old English writing on the back--medieval, yes, but centuries earlier than Malory. This is not helped by the selection of music for the show, as advertised, which includes no medieval music; the earliest composer represented is Mozart, while several contemporary composers are on display.

Drum major, obverse
Image taken from ObiWannaBrick31's recording,
posted to YouTube and used here for commentary

Drum major, reverse
Image taken from ObiWannaBrick31's recording,
posted to YouTube and used here for commentary

The selectiveness of the presentation, although both understandable and necessary given the constraints on available performance time, also strikes me as somewhat...strange. Yes, the Lancelot / Guinevere relationship factors heavily into Le Morte d'Arthur, and, yes, it is as a result of that that Arthur's Logres is undone. But it is not the only narrative thread to be found in the work, and it can be argued that it is not the most important of them. (The Grail narrative is one contender, as is the Roman Imperial narrative. Readerly perspective will do much to determine what counts as "most important.") For one thing, in Malory, the attraction between Lancelot and Guinevere is not a one-sided thing; for the show, "A flawed hero, the gallant Sir Lancelot, surrenders to the beauty of Queen Guinevere." The implication is one of seduction, seeming to lay the fault at the feet of Guinevere, and, while Malory does not hold her blameless (remember that she enters a convent after Arthur's death, penitent), he certainly does not ascribe to her such wiles, nor yet does he excuse Lancelot.

The show does highlight the strife between Arthur and Lancelot after the revelation of the former's cuckoldry by the latter, but it conflates that strife--which, remember, would have been pacified by Papal decree in Malory but for the insistence by Gawain (notably absent from the show) on his right of vengeance for his slain brothers, Arthur's nephews--with that of the Dolorous Day, in which Arthur's own nephew-son, Mordred, kills Arthur. Notably, it does not do much, if anything, to reinforce the idea that Lancelot was "the man of moost worship in the world"--that is, the greatest in martial might. Notably, too, the show ends with Arthur rather than with how Malory's work ends--with Lancelot pining to death for Guinevere, who had herself died while in a convent repenting of her deed, Constantyn son of Cador assuming rule, and several of the elder Knights of the Round Table establishing realms in the Middle East. (Admittedly, it would be hard to represent as much in a marching show.)

If that's Mordred, it's not been emphasized previously.
It doesn't look like the show's Lancelot, either.
Image taken from ObiWannaBrick31's recording,
posted to YouTube and used here for commentary

At root, then, for all that the music is excellent and the marching and choreography equally so (and, again, they are), "The Round Table: Echoes of Camelot" works from what seems a relatively shallow understanding of its ostensible source materials. That it gets right what it does get right suggests that the people who composed the show--who selected the music, who scripted the choreography, who built and purchased the props--had solid access to the best scholarly understandings of those materials. (I doubt it's hard to access, truly; my experience with scholars is that they are eager to share what they know, even if often only because they want to feel intelligent, and being solicited for their understandings does much to make such a feeling. Nor do I exempt myself from it, though whether I still count as a scholar--or ever did--can certainly be argued.)

Some of it, as noted above, is an artifact of the time available in a marching show; there is, again, only so much that thirteen and a half minutes can show. Some of it, though, speaks to prevailing popular unconcern for more than the basics of such stories. The details of Arthurian myths, whether in Malory's pivotal-in-English collection of them or in other sources, are not important to most. The specific story presented, focusing on the tension between love and marriage (maugre Sinatra) among Arthur, Guinevere, and Lancelot, could just as easily take other names; there is hardly a shortage of love triangles to be found. (Indeed, one is alluded to in the selection of songs for the show: Tristan and Isolde [and Mark].)

What effect, then, has reliance upon Arthurian myth if many of its details are elided?

Perhaps it is that the commonality of Arthurian myth makes the show more accessible to more audiences and offers a ready-made set of associations around which to build a show. Most of the audience of a DCI show can be assumed to be broadly familiar with such figures as Arthur, Guinevere, and Lancelot, as well as with the broad strokes of the legend and major figures and events in it: the swords (in the stone and Excalibur, often conflated), the Round Table, the Day of Destiny. Most of the audience of a DCI show can be assumed to have ideas about what knights look like, about what the world in which knights are commonly believed to live look like. And much of the audience of a DCI show in 2023 could be expected to have grown up with or be familiar with any number of medievalist productions, whether television series showing on major networks and streaming services, books by a variety of authors, video games, or other media.

It certainly didn't hurt the Carolina Crown to make such use of the materials, and that corps is to be commended for its performance. I have to wonder, though, if it could have done as well on the field and done better on its homework--just as I wonder if I could do better on my own.

A Requested Clarification for #Kzoo2024...and More Questions to Be Addressed

𝔄 member of the Society raised the question, in reference to the Society's offerings for the 2024 International Congress on Medieval Studies, of what is meant by "the Tolkienian tradition." It's a good question, and one worth considering in this space (and possibly as a conference paper). While all such terms are nebulous in meaning--this very webspace acknowledges ambiguity in the terms upon which it relies early on in its existence--and will necessarily invite discussions along the margins, having some semblance of a solid sense of the term should be of some help. After all, one cannot move against a thing without knowing, at least in some way, what that thing is.

The answer returned to the member, with the acknowledgement that it was a first-pass answer, was (with some edits against late-night email typos)

The man, himself;
image here, asserted as public domain

[The] Tolkienian tradition of fantasy literature can be taken broadly as that emerging from the 1950s and later, published originally in English and working in a milieu predominantly derived from attested histories of what are now Germany, France, the Nordic countries, and the British Isles from roughly 450 to 1300 CE (so Tolkien, likely Katharine Kerr, arguably Robert Jordan and George RR Martin), or borrowing substantially and with little criticism or deviation from earlier-published works following that rubric (Feist's Riftwar novels, Brooks's Shannara works, Paolini's books). Reliance on simplified European feudalistic structures and the overt inclusion of magic deriving from inhered traits are typical features, but not sufficient in themselves to signal inclusion in the tradition. More or less satirical works may or may not be included.

Admittedly, there is some humor in calling a 128-word answer cursory, some joke about verbose academic text to be made. But it is a cursory answer, even if it gives some specifics and some few examples. (And those examples can, themselves, be questioned, severally. For instance, to what extent can Tolkien be considered to be part of a tradition that ostensibly derives from him? Also, considering the demographic breakdown of the authors listed, questions of inclusion and representation emerge, although it should be noted that the list of examples does not claim to be comprehensive--and, again, it's an initial answer that admits of a need for expansion.) More specifics and more examples will be helpful, and more detailed data would certainly be an asset.

Some of the initial answer seems apt to remain in place. It stands to reason that works in the Tolkienian tradition would necessarily need to follow the publication of the Legendarium (although Douglas A. Anderson's excellent work in identifying at least some of the underpinnings and precursors of Tolkien's works should be acknowledged). The initial publication of The Hobbit in 1937 might be taken as a start-date, although the publication of the Lord of the Rings, beginning in 1954, is probably more useful, as it is the latter that marked Tolkien off as the fantasy writer.

General subject matter would also seem to be something that would be like to remain in place. The focus on geographical and temporal sourcing appears as a commonplace, as has been identified even in the Society's own publications. It might be argued that some geographical expansion might be in order. (How much? Why to a given region and not to another?) Temporal expansion is probably less workable; the relative lack of current centralized authority against a history of having had it comes across as a typifying feature of Tolkienian tradition works (Does this make Asimov's Foundation novels part of the tradition?), as does the absence of gunpowder (yes, both Gandalf and Saruman might well make use of it, though their supernatural status means it might well not be gunpowder they are using, despite Jackson).

The employment of simplified European feudal structures deserves attention. It appears in Tolkien, both in the forms of competing and sometimes-subordinate kingships (there is a High King of the Eldar, for example, although there are many other kings among them) and in "more normal" hierarchical declensions (Gondor's Prince of Dol Amroth comes to mind). Kings, dukes, earls, and barons abound, yes, as do "lords" of indeterminate rank, but the overlapping of titles and remarkable fracturing of polities are rarely addressed--likely for good reason. (Is something part of the Tolkienian tradition that moves beyond three or four layers of titular nobility? That employs but one, or none?)

(Related, though not mentioned in the initial response, is the extent to which the narrative must center on those so ennobled to be considered part of the Tolkienian tradition. This does, however, seem to be fraught even in Tolkien; the Bagginses would seem to be gentry, rather than nobility, and Sam is neither until after the events of the War of the Ring, though Merry and Pippin come off as members of the landed aristocracy, for ill and for good. Most of the rest of the focal characters, however, are pretty clearly royals, nobles, or heirs thereof.)

Similarly, the involvement of the supernatural merits attention. While it is clear that access to some power that cannot necessarily be explained by readers'-world physics more or less has to be at play in works in the Tolkienian tradition, the nature of that power is less clear. Does its exercise require that the one so doing have an innate nature that transcends physical boundaries? (There's a case for this, given how often a magic-user has to have "a gift" to be able to use magic.) Is it an issue of study? Are both possibilities? To what extent? Can a work, in fact, be part of the Tolkienian tradition if it does not involve magic of some kind or another?

A useful next step would be to develop what can be taken as a usefully representative set of examples of Tolkienian tradition works, and hopefully a more inclusive one than given in the initial answer. From such a set, more detailed information can be extracted, not only such concerns as are noted above, but also patterns of language use (corpus linguists, take note!). That more detailed data would allow for more exacting answers, clearer definitions, and, it is to be hoped, richer and fuller analyses. But for that, more will be needed than one person's musings; comments from members of the Society and other interested parties will be welcomed. Please, feel free to contribute below!

Author Interview - Kate Schumacher

Hello and welcome to our latest author interview with fantasy author, Kate Schumacher!

Please tell us a little bit about yourself and your writing.

Hi and thanks for having me. I’m an indie author from Australia, and I’ve been writing my whole life. I’ve just published my third novel, the first in a new fantasy series. My three published books are all fantasy/epic fantasy and while I’ve written contemporary fiction as well, there is something about the fantasy genre that speaks to me – perhaps it’s the freedom to create a world and everything in it, and to use that world and the characters to explore real-world issues like power, and the corrupting influence of power.

Who would you say your biggest literary influences are?

There are a few that make it onto this list, but once I sat down to think about it, not as many as I thought. I’ll start with the women, because as a female author, I’m greatly influenced by women who write within the same genre. One of the first fantasy series I ever read as a teenager was the Obernewtyn Chronicles by Australia author Isobelle Carmody. I had the absolute privilege of meeting Isobelle when I was fourteen, and even though it was during a school workshop, listening to her talk about her author journey and about writing really made little me think, yeah, I can do this. The next are two other Australian authors, Kate Forsyth and Cecilia Dart-Thornton, who both write beautiful poetic prose, grand sweeping sagas filled with faeries from Celtic myth. I still return to their books when I’m stuck – when I need a little writing inspiration, because the way both of these authors use language really resonates with me. I tend to write poetically, and I think it’s due to their influence and also my own love of playing with language, of being able to twist and manipulate it into what I want the reader to see. Beyond fantasy, Mary Shelley and the Bronte sisters are an inspiration, again for their skill with language. Tolkien has, of course, been a huge influence, not so much for the writing style but for the mastery of world building. I mean, who else has done what he did on such a scale? It's difficult not to be impressed and not to be influenced by that.

How has the history of the middle ages impacted/influenced your work?

How long do we have? I love history but I will try and be brief. I’m a History, English and Geography teacher and when I’m conceptualising a new world for a new story, I start with history. But onto the Middle Ages. There’s ten centuries of history to play with there, and it was such an interesting period. When you break it up into the Early, High and Late medieval periods, there is such a wealth of events and their impacts to draw on, from the fall of the Roman Empire in 476AD to the fall of Constantinople in 1453, which moved then into the Renaissance and the Age of Discovery. The chain of events and the impacts from those events is huge. If we look at the Early period probably the biggest thing was the collapse of a central authority when Rome left England so we had a period of ‘darkness’ combined with invasions, migration of the Germanic peoples, the lingering power and presence of the Byzantine Empire and the Islamic world, and a pattern of conquest and colonisation, from the Vikings to the Magyars and the Saracens. Then the High Middle Ages period, from 1000AD, we have increased population, agricultural and technological advancements, manorialism and feudalism, knights, royalty, courtly intrigue and drama, power and the spread of Christianity and the idea of nation states. Move into the relatively short Late Middle Ages we have the plague, feminine, war, population decline, heresy, peasant revolts and rebellion and a slow shift in power. What’s not to be influenced and inspired by? I think a lot of fantasy tends to have that Middle Ages vibe because it was still a period of what if? What if Rome was never sacked by the Vandals, for instance? But I think we are still mostly intrigued by the world of knights and princesses, of castle and royalty and a world that doesn’t exist anymore except for in literature, film and TV and, of course, fairy tales. I also believe that this period in time is an easier one for us to suspend our disbelief and imagine that magic and dragons and faeries are real. For instance, I’m not a fan or Urban fantasy for that reason – for me, the inclusion of modern tech alongside magic just doesn’t work. But that is me personally. So, to answer the original question, I will often ask myself the What If? of the Middle Ages and let my imagination go and see where we end up. 

Do you feel like your writing has been impacted/influenced by Tolkien? If so, in what way(s)?

The biggest influence Tolkien has had on my writing is within the world building aspect. When I first read his work, I was completely blown away by the level of detail included. His was a world with its own history, and not just recent history, but thousands of years of history. It has its own creation myths! The depth of Middle Earth is just staggering and I remember sitting there, putting the book aside, and it was a mind-blown moment. It still amazes me, that this world, so rich and vibrant and there, came from a man’s mind. Yes we can say he was influenced by certain things and certain folkloric elements but the way it all comes together is uniquely his I think. And that’s inspiring. Possibly too much! I’m onto my second series now and a second world, and with this one and the first, I never set out to make them as broad and complex as they are, but honestly, real life and the real world is complex and fiction is a reflection of reality. My worlds are political. I have folklore and mythology, drawn from Celtic myths and legends. As I was creating these worlds, I needed them to have a rich history, and then came the geographic elements, because people and cultures and societies are heavily influenced by geography. I draw maps of my worlds (so I don’t get lost as well as the reader) but it was important to me that everything just worked, and that is a Tolkien influence, because love or hate it, Middle Earth works. It’s immersive and amazing.

What do you think the current innovations in your genre(s) are?

I am really liking the shift towards female characters as lead characters. Women who don’t need a man to save them, who are powerful in their own right, however that might look. As a kid, most fantasy stories that I encountered, whether it be books or film and TV, focused on male characters and the hero’s journey archetype, and I think that was primarily due to the setting and the influence of medieval history and social structure on the fantasy genre. Women’s roles were very restricted. We see that in classic fairy tales, which is not a criticism, but an acknowledgment of social constructs and norms on storytelling in that time period. In the modern world, and in modern storytelling, we are moving away from that – female characters have changed as society has changed, particularly in the Young Adult category, which is fabulous, because like I mentioned, most of the stories I had access to as a child were male-centric ones. We are also seeing a shift in representation – there are so many novels now that feature diversity representation within the main character/s. Queer characters, characters of colour, characters with a disability, characters who are battling mental health issues – and this is fabulous, because if we have more hero’s with anxiety, or more queer hero’s, it’s a step towards normalising and another way readers can see something of themselves and make those deeper connections with their literary hero’s. 

What is something in your genre(s) you'd like to see more of?

This is a difficult one because reading as a process is completely subjective. What I might want will not be what others want, but I can tell you why I put a book down. World building, or lack thereof. I want to know everything. I want to know the history, the political structure, the geographic regions, how society works, government, who holds power, who takes power, the influence of that and how difference cultures interact and come into contact with one another because these are the things that will underpin a character’s motivations. If we start a book with a war, I need to know things about this war and who is in control. I’ve put a lot of books aside recently because I haven’t felt that connection with the worlds, and therefore, the characters. A Tolkien hangover? Maybe! 

What is something in your genre(s) you'd like to see less of?

I don’t think there is anything I’d like to see less of really – what one person enjoys in regards to storytelling and character archetypes does not have to be what everyone else enjoys or looks for. Readers will take what they wish from each story they read – they will apply their own personal context in order to make meaning – so I think it’s not up to anyone to gatekeep what others read and enjoy. If I pick up a book with tropes I don’t like, or writing that doesn’t sit with me, I simply put it down and move on. I think the fantasy genre has the space for everything really – all tastes and interests can be accommodated.

Where online can our readers find you and your work?

You can find me on social media, Instagram and TikTok @kateschumacherwriter and my website at www.kateschumacherauthor.com. I have an author facebook page as well. You can find my books on Goodreads, Bookbub and Storygraph. As far as where to buy my books – ebooks are Amazon only, plus they are in Kindle Unlimited. Paperbacks are pretty much anywhere in online book stores, places like Waterstones, Barnes and Noble, World of Books. If in Australia I stock them at some small indie bookstores so please check out the linktree on my social media if you wanted to support these wonderful people. 

Kate, thank you so much for the interview and sharing your thoughtful answers with us!

Still Another Step towards #Kzoo2024

ℌello again, all!

In a bit of an update, the official call for papers for the 2024 International Congress on Medieval Studies is up: https://wmich.edu/medievalcongress/call. The Society has two sessions and a business meeting this coming year. The sessions, per https://talesaftertolkien.blogspot.com/2023/06/another-step-towards-kzoo2024.html, are

• Alternative Medievalisms against the Tolkienian Tradition–A Paper Session: While it is the case that Tolkien’s works are a primary lens through which contemporary popular culture views the medieval, it is far from the only such lens, and the English and European medieval from which Tolkien’s works borrow so extensively are not the only medievals to be found. This paper session seeks to examine how contemporary works employ medievalisms other than those commonly associated with the Tolkienian tradition, how that employment contrasts with that tradition, and how that contrast can better illuminate how current popular cultures understand, and *can* understand, the medieval in its multitudes.
• Tolkien and Twenty-First Century Challenges–A Roundtable: That the works of Tolkien continue to be read and adapted decades after their publication bespeaks ongoing interest in those works and the continuing dialogue with the present in which those works engage. The proposed session seeks to examine how Tolkien’s works can be read against the backdrops of late-stage capitalism and hyper-concentration of wealth; resurgent authoritarianism, religious intolerance, and ethnocentrism; increasing precarity in many areas of endeavor, including but not limited to the academic; climate change; building tension between great-powers realignment and regional autonomy and independence; terrorism, state-sponsored and otherwise; and other issues of concern that occupy current attention.

The business meeting will, as has been common practice, serve as the AGM called for in §5.1 of the Society Constitution. The AGM will treat the following items:

• Determination of offerings for the 2025 ICMS
• Determination of the Society President for 2024-2027, following §4.2.2 of the Society Constitution and the 2021 AGM
• Other business brought before the membership, as time permits
  

All submissions are due no later than 15 September 2023 to the Confex portal, https://icms.confex.com/icms/2024/cfp.cgi. Please provide abstracts of no more than 300 words, as well as contact and introductory information (including how to pronounce your name and how you want presiders to refer to you).

The office of Society President may, per §3 of the Society Constitution, be any member of the Society in good standing who does not currently hold two offices on the Committee. Nominations, including self-nominations, may be emailed to talesaftertolkien@gmail.com.

Members, please distribute widely and across channels.

Thank you all, and we'll see you (virtually) at the 'zoo!

Author Interview - Ignatz Dovidāns

Hello and welcome to our latest author interview with fantasy author, Ignatz Dovidāns!

Please tell us a little bit about yourself and your writing.

Firstly, thanks so much for having me on! My name is Ignatz Dovidāns, author of Moonrise: A serialized low-fantasy novella series featuring globe-trotting action and adventure. These little snack-size fantasy stories are inspired by the format of comic books and prestige TV, and they feature original illustrations by yours-truly. The scope of Moonrise is an epic 45-installment series so it's currently my sole focus as an author.

Who would you say your biggest literary influences are?

For fantasy specifically, I draw influence from all over the place. Martin can certainly be felt in my love of throne-room politicking and multiple POVs. I've also taken quite a bit of influence from Sanderson's ability to break out of the fantasy mold, something I really admire about his writing. But first and foremost, as cliché as it is, I'm always looking to Tolkien as my figurative north star. More on that later!

How has the history of the middle ages impacted/influenced your work?

In a lot of ways, the true history of the various periods of the middle ages has been co-opted by the modern imagination. I think part of the reason the middle ages have such a hold on fantasy is that it, in many ways, represents the fantasy of the modern reader. We work day jobs and desk jobs and service jobs like serfs for our lords who sleep on big piles of gold. But, unlike now, the medieval period was a time, at least in the popular imagination, where one could plausibly break free from their masters and embark on a grand adventure.  Moonrise was never meant to be a historical fantasy by any means, and my fantasy world draws from various periods of history from the Bronze Age all the way to the early 1700s. But this aspect of the middle ages, this dynamic between the small ruling class and the mighty working class, is very much present in Moonrise and that is very much on purpose. To me, fantasy is all about entering a magical safe space to explore the traumas, anxieties, hopes, dreams, and fears we take with us from the real world. As a literary device, the public imagination of the middle ages then becomes an incredible place to explore real-world issues plaguing society while also creating an adventure the reader will want to get lost in.

Do you feel like your writing has been impacted/influenced by Tolkien? If so, in what way(s)?

As I said before, Tolkien is perhaps my most important literary influence. When you look at the series' that were directly inspired by the Lord of the Rings (e.g. Robert Jordan's The Wheel of Time), there are undoubtedly aspects of Tolkien's writing that were left behind. Things that, in my mind, are what made Tolkien's story of brotherhood, adventure, and deep, deep personal trauma so important and resonant. Like most people my age, my indoctrination into Tolkien's works was sealed by Peter Jackson's adaptation. And, while meaningful and important to me in its own right, it wasn't until revisiting the books as an adult that Tolkien's writing really jumped off the page and came to mean something different to me than any adaptation or homage ever did. For starters, his prose flows like poetry, often meandering to take stock of the grass or trees when the true stakes of the story are elsewhere. You can't write a book like that anymore. Well, I suppose you could, but any hope of commercial success would be dubious. It's an aspect of the series many modern readers find tedious but, for me, is a major draw of the work. Tolkien is a master of immersing us in feelings that are, by and large, lost to us in the 21st century. Our minds are so busy with the endless stream of terrible headlines, or the ceaseless parade of notifications on our phones, that we've lost the ability to just be still and quiet and present. Tolkien reminds us, to this very day, what it feels like to sit by a river just to appreciate the sound. To ponder the sonority of the trees or the smell of the wind. Modern fantasy tends to be endlessly complex, with convoluted lore and enough fake-history to fill a real-world history textbook. I've seen people come up with dozens of languages and scripts and draft faux documents all in the effort to build a world the way Tolkien did. But Tolkien didn't need to create Elvish to make his world so palpable. The secret was all in the way he crafted his story and put words to paper. When I say Tolkien is my north star, this is what I mean. If I've done my job well, Moonrise is an epic fantasy series full of whimsy, introspection, and quiet moments. A soft, safe place where readers might be inspired to sit by a river just to appreciate the sound.

What do you think the current innovations in your genre(s) are?

Truthfully, I hate to call this an innovation because it's more of a revolution. But we're seeing more and more previously marginalized people telling their stories. I am a white straight-passing man and, for decades, fantasy stories have been written by people like me about the oppressed, outcast, and ostracized. Often times when those stories aren't necessarily ours to tell. The breadth of voices that have been entering the space in the past few years has been incredibly refreshing and exciting. The new ideas, worldviews, and norms that these previously silenced authors bring into the space is a good thing for storytelling as a whole.

What is something in your genre(s) you'd like to see more of?

This goes hand-in-hand with what I said above, but a diversity of stories. We've seen lots of Chosen Ones and FMC's with colored hair and secret powers. Fantasy is a genre with unlimited possibilities, but we rarely see a story that breaks outside the mold. I think Travis Baldree's Legends and Lattes is a great example of what I'd like to see more of, where the entire format is unlike anything in the fantasy space so far. Now that's not to say I don't want to keep reading epics about Chosen Ones and bow-wielding FMCs. I just think we, as an audience of fantasy, are eager for so much more. This, of course, has been part of my goal in writing Moonrise. The first book plays like a classic fantasy tale, but each consecutive book has a new premise and a new problem that pushes the conventions of the genre. Book 2 is a Fourth Wing-esque military academy drama. Book 3 is a globe-trotting PG-13 Game of Thrones. Book 4, set for release October 2023, is a Halloween-inspired supernatural mystery centering around a masked ball. I'm currently writing the early drafts of Moonrise 17, which is set to be a pirate story, so there's lots in store for the future!

What is something in your genre(s) you'd like to see less of?

This is going to be a controversial one, but I'm wary of the rise of hard magic systems. Now, look, I like hard magic systems a lot. Moonrise's system is what I'd call a 'firm' magic system because, at the end of the day, I'm a geek and love puzzles. Hard magic systems are fun. I love reading a series and slowly figuring out how the magic works. It's also a great way to establish stakes from a storytelling perspective! But here's the thing. Is that fantasy? I'm not saying it's not, but a lot of these Sanderson-inspired stories are more about the puzzle than the characters or themes, which in my mind are the core of what makes fantasy fantasy. 

Is there anything else related I didn't ask a question about that you'd like to add?

I don't think so! Just wanted to wish you all the very best! This blog has a new fan :)

Where online can our readers find you and your work?

The first three books of Moonrise: Wolfsong, Legion, and A New Awakening, are available on Amazon in Kindle e-book and paperback. Book 4, Spectre in the Night is coming October 2023! You can mostly find me on TikTok @moonrisebooks where I'll be making a fool of myself for the algorithm gods.

Ignatz, thank you so much for the interview and sharing your thoughtful answers with us!

Author Interview - Austin Valenzuela

Hello and welcome to our latest author interview with Sci-Fi & Fantasy author, Austin Valenzuela!

Please tell us a little bit about yourself and your writing.

My name is Austin Valenzuela and I write science-fiction and fantasy stories. I first started my creative writing journey after reading Stephen King’s Dark Tower series and diving into psychological interpretations of my favorite childhood stories like Pinocchio and the Lion King.

I work as a content developer in my day job while attending online classes at Grand Canyon University, where I’m earning my master’s degree in clinical mental health counseling.

Who would you say your biggest literary influences are?

Stephen King was one of the first authors that inspired me to sit down and start writing. I’ve always enjoyed his stories, as well as the short introductions and explanations for his stories that he includes, referring to his fans as “constant readers.” 

I also like the classics—Russian authors like Tolstoy and Dostoyevsky, who are perhaps the best to ever do it when it comes to representing philosophical stances and ideologies in their stories through the opinions and behavior of their characters. I see fantasy stories as a way to explore those themes in our current day and age, along with science-fiction stories—see the work of Ted Chiang.

How has the history of the middle ages impacted/influenced your work?

I feel as if aspects of the middle ages have become a language of the fantasy genre. Taverns have a certain look in readers imaginations that almost doesn’t need to be described, and when certain books are picked up, there are expectations of tropes directly inspired by the middle ages, from the look of the swords to seiges upon castles and particular representations of faery creatures. People think of the middle ages as overdone in fantasy, but there is a distinct difference between overdone and a lack of originality.

Do you feel like your writing has been impacted/influenced by Tolkien? If so, in what way(s)?

My writing has been impacted by Tolkien consciously and unconsciously. I grew up playing the Lord of the Rings video games, steeped in nerd culture, and I can see those influences in my storytelling, especially in first drafts. I am always learning from Tolkien’s lush imagination and precision with prose.

What do you think the current innovations in your genre(s) are?

To expand on the idea of originality, there is much to be explored in the realm of various folklore that differs from the typical Norse/Scottish myths that are often incorporated into fantasy. I believe that Chinese, South American, Korean, and other myths and folktales provide rich storytelling roots that can be given a voice in the fantasy and science-fiction genres. One might revive old and used myths by re-telling them in a framework that portrays the current struggles of our day.

What is something in your genre(s) you'd like to see more of?

I’d love to see more fantasy inspired by different cultures like those mentioned above. There is an endless amount of meaning behind an old fable. A great storyteller can dig up that meaning and make it shiny again.

What is something in your genre(s) you'd like to see less of?

I’d definitely like to see less of the carbon-copy faery stories. If artificial intelligence isn’t capable of creating one of those mass printed stories already, it will be soon. Charles Bukowski’s poem, So You Want to be a Writer?, said it best, in that you shouldn’t necessarily write something if it doesn’t burst forth out of your soul, desperate to be told. 

Is there anything else related I didn't ask a question about that you'd like to add?

My personal stories are influenced by Mesopotamian myths, Christianity, and Latin culture. I grew up with a father who spoke Spanish as his first language and a grandmother who lived all around the world, and their stories greatly influenced my young and impressionable mind. 

Where online can our readers find you and your work?

Readers can follow me on TikTok: @valenzuela.au and Instagram: @valenzuela.austin for updates on my latest work and funny book-related memes. You can also visit the following link to purchase my debut fantasy novel, Dragonspeak: Isaac’s Blessing. 
https://www.amazon.com/Dragonspeak-Isaacs-Blessing-Austin-Valenzuela-ebook/dp/B09JW3TC87/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=&sr= 

Austin, thank you so much for the interview and sharing your thoughtful answers with us!

Another Step towards #Kzoo2024

𝔚e have an update about next year's Society offerings at the International Congress on Medieval Studies! Of the four panels proposed, two were accepted; they are

Alternative Medievalisms against the Tolkienian Tradition–A Paper Session

While it is the case that Tolkien’s works are a primary lens through which contemporary popular culture views the medieval, it is far from the only such lens, and the English and European medieval from which Tolkien’s works borrow so extensively are not the only medievals to be found. This paper session seeks to examine how contemporary works employ medievalisms other than those commonly associated with the Tolkienian tradition, how that employment contrasts with that tradition, and how that contrast can better illuminate how current popular cultures understand, and *can* understand, the medieval in its multitudes.

Tolkien and Twenty-First Century Challenges–A Roundtable

That the works of Tolkien continue to be read and adapted decades after their publication bespeaks ongoing interest in those works and the continuing dialogue with the present in which those works engage. The proposed session seeks to examine how Tolkien’s works can be read against the backdrops of late-stage capitalism and hyper-concentration of wealth; resurgent authoritarianism, religious intolerance, and ethnocentrism; increasing precarity in many areas of endeavor, including but not limited to the academic; climate change; building tension between great-powers realignment and regional autonomy and independence; terrorism, state-sponsored and otherwise; and other issues of concern that occupy current attention.

---

News about what the mode of delivery will be--hybrid, online, or on-site--is yet forthcoming; as soon as we know, we'll let you know. Until then, get your abstracts (up to 300 words) ready; the formal CFP is set to open in mid-July, but we're always happy to look at things at talesaftertolkien@gmail.com. Send away!

Society members, please distribute widely!

Author Interview - Jessie Vallee

Hello and welcome to our latest author interview with YA fantasy author, Jessie Vallee!

Please tell us a little bit about yourself and your writing.

I am someone who grew up craving every second outdoors, marveling at the different birds flying by and amazed at howevery wild animal lives its life. At school I was dubbed a 'readaholic' by my peers for always having my nose in a book - even while walking from place to place. I studied Environmental & Wildlife Management in college and when I got a contract job sampling cervids for a neurological disease, I found that I had many extra hours of time on my hands while waiting for new specimens to arrive. I started writing during this time as a feel-good hobby for myself. I combined my love for fantastical stories with my love for wildlife. And I never looked back.  

Who would you say your biggest literary influences are?

I've never had one great big influence. Every story where the young female heroine defies the impossible to follow her morals and defeat the enemy is my inspiration. Every story where the beautifully poetic writing transports me to another realm in hypnotic detail is my sanctum. And every ounce of unique world building I discover feeds my creativity. 

How has the history of the middle ages impacted/influenced your work?

Learning about the middle ages gave me an entirely new appreciation for various weaponry, armor, combat styles, and ways of life that don't rely on modern technology. But more than that, it was the honour that every man and woman held that has impacted my writing the most. Knowing about a time when everything was life and death, yet still, people fought tooth and nail for what they believed in, despite all the challenged they faced. 

Do you feel like your writing has been impacted/influenced by Tolkien? If so, in what way(s)?

Tolkien is one of the authors that I grew up on, and his writing always transports me to another realm like no other. In the Lord of the Rings trilogy, I was introduced to world building like no other, with a complex system of characters and races whose way of life each grossly differs from our own which reflects in the writing. Every paragraph was intricately written from the perspective of a very peculiar species that does not exist in this world - the Hobbit. It challenged me at my young age while drawing me in. 

His book, The Hobbit, on the other hand was based in the same world, but read as a children's fairytale despite its complexity. The words drifted off the page with ease - such a stark contrast to its successor books, in my personal opinion. And I fell in love with it. It made me want to take my time with the story and read it all aloud in a hushed dimly lit room. 

In these senses, Tolkien was both the first author to challenge me as a reader, and who made me rethink the concept of writing for your target audience (as The Hobbit was indeed written as a bedtime story for children). As a writer, this translated into learning how to dive into the perspective of the world you create, while still remaining true to your audience. 

What do you think the current innovations in your genre(s) are?

I am a writer of Young-Adult Fantasy in magical realism. I believe one of the great innovations of today is merging the world of magic and mischief with the contemporary. Many teenagers can hardly imagine a world without phones, computers, and cars. And so, to transport them more fluidly into a fictional setting, or even a non-fictional setting with magical aspects or rules, is both a challenge and a great gift. We get to discover how to demonstrate a world that seems impossible in their eyes, and learn how to make it both understandable and relatable. 

What is something in your genre(s) you'd like to see more of?

I would love to see more of the extraordinary. I've always loved that word when broken down: extra-ordinary. I want to get lost in new and unique worlds, learn about new and unheard-of species of beasts, discover new realms that are nothing like what we've already read about, be amazed by new magic that we're not used to seeing. 

I personally have so many ideas of my own to touch on this in the future, but I feel as if many of the fantasy tales of today are recycled - which is okay! In fact, I absolutely love retellings, and I've always agreed with the saying 'don't fix what ain't broke'. And while I will never tire of trolls, dwarves, elves, witches, Fae, elemental powers, vampires, werewolves, etc... The list goes on. These are all elements I love. 

But I want to discover something new. Because that's the joy of fantasy. There is no limit to the imagination. 

What is something in your genre(s) you'd like to see less of?

Far too many fantasies portrait the women in the book as a damsel in distress. Even in a heroine position, their only true strength is often in relation to the 'helpless chosen one'. As one example, this can look like their blood being the key to gain the treasure or defeat the enemy, but their skills being inadequate to ever advance on their own, or even begin to fight back if faced with trouble. 

A girl that is needed, but completely dependent and in need of protecting. 

I want to see less damsels in distress and more women that don't need rescuing, and who are their own saviours. While yes, learning how to depend on others because the fate of the world should never fall on any one person's shoulders and our youth need to see that it's okay to lean on others. But that isn't to say that the girls are helpless on their own.

Is there anything else related I didn't ask a question about that you'd like to add?

I think you covered it 🙂

Where online can our readers find you and your work?

Readers can find me at www.jessievallee.ca, or at @jvalleeauthor on all social medias.

Jessie, thank you so much for joining us today and sharing your thoughtful answers!

Author Interview - Ben Galley

Hello and welcome to our latest author interview with fantasy author, Ben Galley!

Please tell us a little bit about yourself and your writing.

Hello and thanks for having me! I’m Ben Galley, an epic and dark fantasy author originally from the UK and now lurking on the west coast of Canada. I’ve been writing since I was old enough to spell and my biggest dream was to become an author. In 2010, I published my debut novel, a Nordic fantasy called The Written, and I haven’t looked back since. As of 2015, I’m thrilled to say I’m a full-time author, and I currently have almost 20 books under my belt, ranging from Norse fantasy to grimdark, weird west, steampunk, and recently progression fantasy. My aim whenever I’m putting fingers to keys is to create the deepest worlds I can, and fill them with 3D, compelling characters that live in the reader’s head rent-free. 

Who would you say your biggest literary influences are?

Prepare yourself for a cliche. My original dream to be a professional author was born when I was but a knee-high waif living in Scotland. The first proper book my parents gave me to read? The Hobbit, closely followed by Lord of The Rings a few years later. The sheer depth of the world and breadth of the lore was the source of that dream, as it has been for many authors. So I have to blame old JRR and Middle Earth for first influencing me. Along with Tolkien, I also blame Brian Jacques and Redwall, CS Lewis, Sir Pratchett, Anne McCaffrey, and of course, Robin Hobb.

Since then, I’ve been heavily influenced by the balance of humour and darkness found in Joe Abercrombie’s and Mark Lawrence’s incredible books. The world-building of Philip Pullman, Philip Reeve, China Miéville showed me how deep and compelling worlds could be. Neil Gaiman has also been a huge influence, and taught me about balancing the real world with the weird and magical.

How has the history of the middle ages impacted/influenced your work?

For many of my books, the short answer is: hugely. My nordic Emaneska Series and Scalussen Chronicles are both European-inspired fantasy, Most of my books, even if they’re non-western, which five other books are, they are set in roughly the same era of technology. As such, I’ve done a huge amount of research into middle ages art, architecture, tech, culture across all facets of history, all around the world. Even aspects of Middle Age writing and storytelling have given me plenty of ideas for plots and stories. It was a time of discovery, invention, exploration, and upheaval, and that gives plenty of good inspiration for stories.

What do you think the current innovations in your genre(s) are?

There is a huge amount of innovation in fantasy at the moment. A lot of non-western settings are being explored, and most importantly, we have a rising number of BIPOC and LGBT authors bringing fresh voices and telling stories that aren’t the usual, codified medieval fantasy that I think there is more than a swathe of. Don’t get me wrong, you can still tell new stories in common settings, and there are a lot of people pushing the envelope with classic fantasy, but representation and expansion are very important. There are also a lot of authors mixing new and old in really interesting ways, such as exploring mixing genres together. Sci-fi fantasy, for example, and the stratospheric rise of game-lit and LitRPG. Or the rise of cozy fantasy, and a move away from dark and gruesome worlds. Authors are also launching their books in new ways via web novels and serials, which I find really interesting.

What is something in your genre(s) you'd like to see more of?

I personally want to see (or keep seeing) more deep secondary world fantasy settings that are original and non-western, as well as more exploration into different story styles or characters. Instead of the stable boy and the prophecy, what about more villain origin stories? Or husband and wife characters? Exploring more family dynamics or cultural tales?

What is something in your genre(s) you'd like to see less of?

To be honest, there is a lot of darkness in the fantasy genre, and what I believe is a step over the line is to be violent for violence’s sake and be shocking. Sometimes fantasy does bleed into horror, and a lot of fantasy is dark and violent, but I feel to be dark doesn’t mean to be unnecessarily dark just for a shock factor. I’d like to see less of that.

Otherwise, while I have no problem with romance whatsoever, there is a subset of people who think fantasy is synonymous with romance, or vice versa. This is a categorisation issue primarily, and causes a decent issue on Amazon and other stores.

Is there anything else related I didn't ask a question about that you'd like to add?

Maybe 'What’s the most fun aspect of your genre?'

Call me biased, as I’m not only a fantasy writer but a passionate fantasy fan, but it’s the ability to dream big. While it’s not a negative for other genres or for me as a reader, sometimes other fiction is constrained to the real world or a historical time period. Fantasy has almost zero constraints on imagination, and we fantasy authors can build the most ridiculous worlds if we want to. And, if we get into a plot hole, what better way to solve it than with magic? :D

Where online can our readers find you and your work?

All my links are at linktr.ee/bengalley, which will take you to my ebooks, physical books, audiobooks, and more, as well as my socials, Discord and Patreon. Otherwise, all my books are order-able via your local stores!

Ben, thank you so much for joining us today and sharing your thoughtful answers!