A phenomenal author who I'll be interviewing soon, right here on The MAVONDURI TRILOGY OFFICIAL BLOG!! Keep. A weather eye out!
A Struggle Against Evil—Love Through the Ages—A Destiny to Fulfill
When seventeen-year-old Diana recognizes an elderly priest in a video on YouTube, she realizes that reincarnation is real and that she’s been alive before! Every night in her dreams, she views her past lives learning that it’s kill or be killed.
Now a bishop at the Vatican whom she saved in another life calls on her once more. She is needed to help defeat an infestation of demons living within the catacombs of Rome. But when she arrives in Rome, she meets Alexander – the man of her dreams! Through the centuries she has loved him…betrayed him...been killed by him. Will she give him another chance or this time will she strike first?
Silver Knight takes you on an adventure where demons and heroes from the past blend with history, action, and just a hint of romance.
5 Star Review:
“All I could think once I started reading this book was WOW! My only warning is that once you start reading this story you are not going to be able to put it down!” –Readers Favorite (Read more at: http://readersfavorite.com/review/5699)
Caron Rider’s Bio:
I began teaching adults to use computer software, hardware, and networking back in the 1990s. After several years, my clients became younger and younger until I found myself tutoring high school dropouts to pass the GED. I found working with at-risk teenagers so rewarding that I changed her undergraduate major to Education.
Upon graduating from the University of South Alabama with a B.S., I began teaching high school history and I continue to teach history classes online. I now live in rural Missouri with my two kids, two dogs, two cats, and father.
Some useful links:
Website: www.caronrider.com
Blog: www.caronrider.blogspot.com
Facebook: http://www.facebook.com/pages/The-Silver-Series/217988348281222
Twitter: @Caron_Rider
Thursday, March 15, 2012
Tuesday, February 21, 2012
Telling and Retelling: How the Werewolf and Atlantis Myths Fit So Well Together
Well today I'm celebrating my first ever Guest Blog Post on Vanna Smythe's Blog! Read below
~
As the author of the MAVONDURI TRILOGY, its origins are an interesting story for me to tell. But that’s not what this post is ALL about. This is about how fantasy, as a genre, can retell ancient myths in new and exciting ways, using two mythic archetypes as specific examples. I’ve always found both the Atlantis myth and the werewolf myth extremely fascinating for different reasons, but it wasn’t until I began writing Mathion that I found that I could retell both of these myths in one story.
I’ve done my fair share of research, and found that almost every ancient culture has or had some kind of shapeshifter (i.e. “werewolf”) myth and an Atlantis (or Deluge) type myth. Coincidence? Perhaps, but I’ve never thought so. Both of these mythological archetypes are so ubiquitous in human culture that I thought there had to be a connection. And it was through writing Mathion that I found a way to make that connection. In their most basic forms, they run thus:
•In the Atlantis/Deluge myth, you hear of a prosperous island empire that is consumed by the sea. But it’s not that simple, and this is where the “proximity phenomenon” comes into play. Those cultures that are closer to the source of the myth will be able to convey more detail concerning the real events that inspired the myth (Atlantis), whereas those further away are less detailed (deluge).
•In that same vein, we have a similar derivation with the werewolf myth. Whether or not it is specifically a “wolf”, the idea of a human being able to assume the form of an animal is one of the most common and pervasive myths in human culture. It could be a wolf, yes, but in Norse cultures there were tales of “berserkers” and further east there were legends of werepanthers and other similar shapeshifter myths. In the Americas the most noteworthy shapeshifter myth is that of the Navajo “skinwalker”.
So what could be the ultimate “source” of these two myths? Well, upon finishing my research I came to the conclusion that the sources are one and the same: these shapeshifters inhabited a vast landmass in the middle of the ocean, and upon its destruction they spread out over the world and these “myths” emerged in our cultural subconscious.
The idea of “reinvented (or lost) history” is among the oldest in terms of the fantasy genre. I myself have always found that an immensely interesting aspect of it, and when the opportunity arose to reinvent history myself, I took it and started running with it. To take an icon of horror and set it in the fantasy genre opens up so many more doors in terms of character than if you were to put it in any other medium.
Finally, I would just like to say this: if you are writing or are going to write a fantasy story, and in particular an EPIC fantasy story, I believe there are three central “tenets” you as an author should follow. Not have to, mind you, but should. They are:
•The Map- this is the world in which the Tale is told, and it goes far beyond just the actual map found in the book itself. It comprises the history, cultures, languages and even religious ideals that add depth and legitimacy to the world in which your characters inhabit. It’s very important that there be a cohesion within the Map (place names, language, etc.)
•The Quest- this is the tenet which allows both author and reader to be introduced to and explore the world in which the Tale is told. It also can reflect your Hero’s inner journey and be just as, if not more perilous.
•Sub-Creation- this tenet has its ultimate source in the father of modern fantasy, J. R. R. Tolkien. The art of sub-creation isn’t a conscious one, but it emerges as a result of the depth you add to the Map, to the extent that you begin to “discover” certain aspects of the world that were not consciously created but fit within the context of it. Some of the best fantasy worlds and stories are a product of sub-creative processes and as a result have such a realistic feel to them that there is no need for a suspension of disbelief.
In the end, “to create a convincing story, you’ve got to know what you’re talking about in every detail.”
~
As the author of the MAVONDURI TRILOGY, its origins are an interesting story for me to tell. But that’s not what this post is ALL about. This is about how fantasy, as a genre, can retell ancient myths in new and exciting ways, using two mythic archetypes as specific examples. I’ve always found both the Atlantis myth and the werewolf myth extremely fascinating for different reasons, but it wasn’t until I began writing Mathion that I found that I could retell both of these myths in one story.
I’ve done my fair share of research, and found that almost every ancient culture has or had some kind of shapeshifter (i.e. “werewolf”) myth and an Atlantis (or Deluge) type myth. Coincidence? Perhaps, but I’ve never thought so. Both of these mythological archetypes are so ubiquitous in human culture that I thought there had to be a connection. And it was through writing Mathion that I found a way to make that connection. In their most basic forms, they run thus:
•In the Atlantis/Deluge myth, you hear of a prosperous island empire that is consumed by the sea. But it’s not that simple, and this is where the “proximity phenomenon” comes into play. Those cultures that are closer to the source of the myth will be able to convey more detail concerning the real events that inspired the myth (Atlantis), whereas those further away are less detailed (deluge).
•In that same vein, we have a similar derivation with the werewolf myth. Whether or not it is specifically a “wolf”, the idea of a human being able to assume the form of an animal is one of the most common and pervasive myths in human culture. It could be a wolf, yes, but in Norse cultures there were tales of “berserkers” and further east there were legends of werepanthers and other similar shapeshifter myths. In the Americas the most noteworthy shapeshifter myth is that of the Navajo “skinwalker”.
So what could be the ultimate “source” of these two myths? Well, upon finishing my research I came to the conclusion that the sources are one and the same: these shapeshifters inhabited a vast landmass in the middle of the ocean, and upon its destruction they spread out over the world and these “myths” emerged in our cultural subconscious.
The idea of “reinvented (or lost) history” is among the oldest in terms of the fantasy genre. I myself have always found that an immensely interesting aspect of it, and when the opportunity arose to reinvent history myself, I took it and started running with it. To take an icon of horror and set it in the fantasy genre opens up so many more doors in terms of character than if you were to put it in any other medium.
Finally, I would just like to say this: if you are writing or are going to write a fantasy story, and in particular an EPIC fantasy story, I believe there are three central “tenets” you as an author should follow. Not have to, mind you, but should. They are:
•The Map- this is the world in which the Tale is told, and it goes far beyond just the actual map found in the book itself. It comprises the history, cultures, languages and even religious ideals that add depth and legitimacy to the world in which your characters inhabit. It’s very important that there be a cohesion within the Map (place names, language, etc.)
•The Quest- this is the tenet which allows both author and reader to be introduced to and explore the world in which the Tale is told. It also can reflect your Hero’s inner journey and be just as, if not more perilous.
•Sub-Creation- this tenet has its ultimate source in the father of modern fantasy, J. R. R. Tolkien. The art of sub-creation isn’t a conscious one, but it emerges as a result of the depth you add to the Map, to the extent that you begin to “discover” certain aspects of the world that were not consciously created but fit within the context of it. Some of the best fantasy worlds and stories are a product of sub-creative processes and as a result have such a realistic feel to them that there is no need for a suspension of disbelief.
In the end, “to create a convincing story, you’ve got to know what you’re talking about in every detail.”
Saturday, February 4, 2012
CHRONICLE Review: One Young Man's Despair is his Greatest Power
Ok so I just left the theater, and the one thing on my mind is how resonant CHRONICLE will be for many teen moviegoers. Let me explain. 
CHRONICLE is a radical new take on the superhero genre, which adds great depth to the concept of what great power can do to an individual. This story is all about Andrew Detmer, a kid who's basically been handed a crap sandwich all his life. It's told through his eyes (or in this case his camera) and his profound despair is the driving force of the film.
From the start, I could tell that there was this malevolent darkness that was constantly at war within this young man. Dane DeHaan's performance is meticulously nuanced and emotionally gripping, as we see him struggle with his situation and the people around him. His father is an abusive alcoholic and his mother, the only person who shows him any real affection, is the only thing that keeps Andrew's darkness at bay. In a sense, she's his ray of hope, the only light in his world. And when she's finally taken away, there's nothing that can stop Andrew. One thing I hated in my theater showing was how the audience applauded his death. I view Andrew's story as incredibly tragic, and a statement of just how far one person can be pushed before they give in to their own darkness.
Alex Russell and Michael B. Jordan play Matt Garetty and Steve Montgomery, respectively, and add a sharp contrast to Andrew's introverted nature. Steve is the cookie-cutter "popular guy" who, through his shared experiences with Andrew, tries to help him loosen up. Matt is Andrew's cousin, a philosophizing good dude who nevertheless has to reel Andrew in from time to time. Both are social, fun-loving high school seniors enjoying the hell out of life, and throughout the film they try to get Andrew to do the same. Their performances, especially Russell's, add fun and sincerity to the movie, but in the end this is Andrew's story.
Andrew, trying to find a sense of reason to his life, begins documenting it. We see early on that not only is his home life a mess, but his ENTIRE life is. Picked on at school, scorned by girls, the only friend he seems to have is his cousin. Matt brings Andrew along to a rave, but after several incidents Andrew ends up outside crying. It's then that we meet Steve, who comes across as a grade A douche at first, wanting to use Andrew's camera to film this "thing" he and Matt have found. They come across a strange glowing crystal of unexplained origin, which gives them powers. At first they exhibit only telekinesis, which they use to play pranks on unsuspecting strangers to great comedic effect. But as their story progresses so do their abilities, especially Andrew's. While all have the abilities of superstrength and flight (which is very well executed with the "shaky-cam" technique), Andrew hones his "muscle" further than the others, finally having an outlet for his despair which, while not always apparent, is very pervasive throughout the entire film. And he soon is stronger than all of them.
Despite all this superhero stuff, the film actually delves into their high school life, including Andrew's brief taste of "normality" i.e. popularity, but quickly disintegrates when relations with a certain pink-haired girl goes awry. And it's at this point the darkness within Andrew erupts. Taking matters into his own hands, he confronts his father in a scene that had me on the edge of my seat. Without going into too much detail, the movie culminated in a battle between Matt and Andrew on the streets and in the skies of Seattle, and we see that Andrew's despair can cause catastrophic destruction, both within his soul and to the world around him.
In the end, this movie is a gripping treatise on the concept of despair and how it can tear apart everything one holds dear. The addition of superpowers, and the "found footage" approach to the story, makes this film by Josh Trank and Max Landis a thought provoking and gripping film about a young man who seemingly has nothing to console him and all the power in the world, yet in the end he is so blinded by his despair that he doesn't get to hear three words that would have prevented all of this:
"I love you."
CHRONICLE is a radical new take on the superhero genre, which adds great depth to the concept of what great power can do to an individual. This story is all about Andrew Detmer, a kid who's basically been handed a crap sandwich all his life. It's told through his eyes (or in this case his camera) and his profound despair is the driving force of the film.
From the start, I could tell that there was this malevolent darkness that was constantly at war within this young man. Dane DeHaan's performance is meticulously nuanced and emotionally gripping, as we see him struggle with his situation and the people around him. His father is an abusive alcoholic and his mother, the only person who shows him any real affection, is the only thing that keeps Andrew's darkness at bay. In a sense, she's his ray of hope, the only light in his world. And when she's finally taken away, there's nothing that can stop Andrew. One thing I hated in my theater showing was how the audience applauded his death. I view Andrew's story as incredibly tragic, and a statement of just how far one person can be pushed before they give in to their own darkness.
Alex Russell and Michael B. Jordan play Matt Garetty and Steve Montgomery, respectively, and add a sharp contrast to Andrew's introverted nature. Steve is the cookie-cutter "popular guy" who, through his shared experiences with Andrew, tries to help him loosen up. Matt is Andrew's cousin, a philosophizing good dude who nevertheless has to reel Andrew in from time to time. Both are social, fun-loving high school seniors enjoying the hell out of life, and throughout the film they try to get Andrew to do the same. Their performances, especially Russell's, add fun and sincerity to the movie, but in the end this is Andrew's story.
Andrew, trying to find a sense of reason to his life, begins documenting it. We see early on that not only is his home life a mess, but his ENTIRE life is. Picked on at school, scorned by girls, the only friend he seems to have is his cousin. Matt brings Andrew along to a rave, but after several incidents Andrew ends up outside crying. It's then that we meet Steve, who comes across as a grade A douche at first, wanting to use Andrew's camera to film this "thing" he and Matt have found. They come across a strange glowing crystal of unexplained origin, which gives them powers. At first they exhibit only telekinesis, which they use to play pranks on unsuspecting strangers to great comedic effect. But as their story progresses so do their abilities, especially Andrew's. While all have the abilities of superstrength and flight (which is very well executed with the "shaky-cam" technique), Andrew hones his "muscle" further than the others, finally having an outlet for his despair which, while not always apparent, is very pervasive throughout the entire film. And he soon is stronger than all of them.
Despite all this superhero stuff, the film actually delves into their high school life, including Andrew's brief taste of "normality" i.e. popularity, but quickly disintegrates when relations with a certain pink-haired girl goes awry. And it's at this point the darkness within Andrew erupts. Taking matters into his own hands, he confronts his father in a scene that had me on the edge of my seat. Without going into too much detail, the movie culminated in a battle between Matt and Andrew on the streets and in the skies of Seattle, and we see that Andrew's despair can cause catastrophic destruction, both within his soul and to the world around him.
In the end, this movie is a gripping treatise on the concept of despair and how it can tear apart everything one holds dear. The addition of superpowers, and the "found footage" approach to the story, makes this film by Josh Trank and Max Landis a thought provoking and gripping film about a young man who seemingly has nothing to console him and all the power in the world, yet in the end he is so blinded by his despair that he doesn't get to hear three words that would have prevented all of this:
"I love you."
Sunday, January 22, 2012
Selene is Back and Badder than Ever! ....Unfortunately, so is "Awakening"
In "Underworld: Awakening", Death Dealer Selene is awoken from an icy 12-year cryo-nap and finds a world where vampires and Lycans are not only exposed but hunted. Oh, and she has a daughter.
First off, I'm an Underworld fan. The vampires put Robert Pattinson to shame and the Lycans make Taylor Lautner look like a poodle. It's truly a great story they had going on, and I thought they had wrapped it up quite nicely with 2009's "Rise of the Lycans" prequel. But in the case of "Awakening", directed by series newcomers Måns Mårlind and Björn Stein, well...I'm very disappointed. Now of course, "Underworld: Evolution" left an opening for Selene's story to continue, but I just don't feel that "Awakening" was the best choice of story. The plot was too low-budget Syfy (meaning that it could have been made as a Syfy channel original movie) and there was no depth to many of the characters.
Aside from Beckinsale, who always inhabits Selene as a character, the only other performance that stood out to me was India Eisley as Eve, Selene's daughter. The first hybrid-born child, she admires her mother's warrior skills and proves to be quite the little fighter as well. You can see a real bond between Eisley and Beckinsale when they have scenes together. Michael Ealy has always been good in my book but his character simply didn't fit in this film. Charles Dance's Thomas seemed to be more of a throwback to Bill Nighy and Viktor, but again, it seems like he was just thrown in for credibility, although he gives a good performance. Theo James is...well actually he was pretty cool, I'll admit.
Now as you know, werewolves are kind of my thing. And I've always liked "Underworld"'s portrayal of the Lycans, from Lucian to Raze to William (big white wolf in "Underworld: Evolution"). "Rise of the Lycans" is my favorite "Underworld" movie in the series. And I was supremely pissed at how the Lycans came across in "Awakening". They're just cartoony. They have no leader (Stephen Rea's Dr. Lang may be an exception but he just annoyed me) and they were...just awful. IF (and that's a big one) they make another film, here's hoping they do it right next time.
I saw the film in 3D and, while it had its moments, I'm just not a fan of it and would probably have liked the movie better if I had watched it the old fashioned way.
Overall, it was pretty "meh" for a movie and a downright facepalm for an Underworld movie. It's not unwatchable, but in the Underworld universe, they should have left well enough alone.
(image copyright Screen Gems and Sketch Films)
First off, I'm an Underworld fan. The vampires put Robert Pattinson to shame and the Lycans make Taylor Lautner look like a poodle. It's truly a great story they had going on, and I thought they had wrapped it up quite nicely with 2009's "Rise of the Lycans" prequel. But in the case of "Awakening", directed by series newcomers Måns Mårlind and Björn Stein, well...I'm very disappointed. Now of course, "Underworld: Evolution" left an opening for Selene's story to continue, but I just don't feel that "Awakening" was the best choice of story. The plot was too low-budget Syfy (meaning that it could have been made as a Syfy channel original movie) and there was no depth to many of the characters.
Aside from Beckinsale, who always inhabits Selene as a character, the only other performance that stood out to me was India Eisley as Eve, Selene's daughter. The first hybrid-born child, she admires her mother's warrior skills and proves to be quite the little fighter as well. You can see a real bond between Eisley and Beckinsale when they have scenes together. Michael Ealy has always been good in my book but his character simply didn't fit in this film. Charles Dance's Thomas seemed to be more of a throwback to Bill Nighy and Viktor, but again, it seems like he was just thrown in for credibility, although he gives a good performance. Theo James is...well actually he was pretty cool, I'll admit.
Now as you know, werewolves are kind of my thing. And I've always liked "Underworld"'s portrayal of the Lycans, from Lucian to Raze to William (big white wolf in "Underworld: Evolution"). "Rise of the Lycans" is my favorite "Underworld" movie in the series. And I was supremely pissed at how the Lycans came across in "Awakening". They're just cartoony. They have no leader (Stephen Rea's Dr. Lang may be an exception but he just annoyed me) and they were...just awful. IF (and that's a big one) they make another film, here's hoping they do it right next time.
I saw the film in 3D and, while it had its moments, I'm just not a fan of it and would probably have liked the movie better if I had watched it the old fashioned way.
Overall, it was pretty "meh" for a movie and a downright facepalm for an Underworld movie. It's not unwatchable, but in the Underworld universe, they should have left well enough alone.
(image copyright Screen Gems and Sketch Films)
Sunday, January 15, 2012
Who are the Wolven?
For those who have read MATHION: BOOK ONE OF THE MAVODURI TRILOGY, you will notice that the main characters aren't exactly human...per se. They are Wolven or Cénáre, a race of humans with a long life span, and many inherent abilities found commonly in the Trilogy's antagonists, the werewolves. But they are NOT werewolves. Nor are they some haphazard equivalent of vampires or elves.
I'd like to take a moment to compare the names Wolven and werewolf. "Werewolf" comes from Old English and literally means "man-wolf," that is a man who assumes the form of a wolf. More metaphorically, a werewolf is not just a man who transforms into a wolf, but a man who has accepted and glorifies the beast inside, forsaking his humanity. "Wolven" (as far as I'm aware) is a word of my own invention, and is roughly a poetic adjective in its style and sound. For someone to be "wolven" is to be wolf-like, or in this case werewolf-like, but in this case the Wolven retain their humanity and compassion for their fellow humans.
That is not to say the Wolven are flawed, which will be a major theme on THE LAST ASCENSION, but more on that later.
The Wolven creation myth (in short) is that they crashed on the shores of what became Ánovén roughly 20,000 years before Mathion's time. Five ships, five clans of men. In time, the "God" figure of the Mavonduri Trilogy, Ka'én, sent his emissary Ktindu to them to offer them a choice: aid the White Wolves and save them from the genocidal persecution of the Werewolves, or live out their lives as they would. No punishment was threatened for refusal, and in the end three of the five clans accepted. They adopted the name "Cénáre" which is Anglicized as "Wolven" but the actual translation is "those who are Shaped by the Shaper (Ka'én)".
In addition to a long life span (around 1,500 years for the royal clans of the Wolven) they were blessed with gifts of strength, agility, sight, hearing and smell, all of the physical attributes of a werewolf in manform. To put it simply, they were genetically engineered to fight werewolves, and win. However a few of them were also blessed with a form of clairvoyance or Foresight, some more powerful than others. This ability was most attributed to the Sages of Avakaš.
But at their core the Wolven are, fundamentally, human. They live, they fight, and they die. They love and they hate, but ultimately they share a fundamental connection to the world around them, and have passed into even our later myths and legends...as Atlanteans.
I'd like to take a moment to compare the names Wolven and werewolf. "Werewolf" comes from Old English and literally means "man-wolf," that is a man who assumes the form of a wolf. More metaphorically, a werewolf is not just a man who transforms into a wolf, but a man who has accepted and glorifies the beast inside, forsaking his humanity. "Wolven" (as far as I'm aware) is a word of my own invention, and is roughly a poetic adjective in its style and sound. For someone to be "wolven" is to be wolf-like, or in this case werewolf-like, but in this case the Wolven retain their humanity and compassion for their fellow humans.
That is not to say the Wolven are flawed, which will be a major theme on THE LAST ASCENSION, but more on that later.
The Wolven creation myth (in short) is that they crashed on the shores of what became Ánovén roughly 20,000 years before Mathion's time. Five ships, five clans of men. In time, the "God" figure of the Mavonduri Trilogy, Ka'én, sent his emissary Ktindu to them to offer them a choice: aid the White Wolves and save them from the genocidal persecution of the Werewolves, or live out their lives as they would. No punishment was threatened for refusal, and in the end three of the five clans accepted. They adopted the name "Cénáre" which is Anglicized as "Wolven" but the actual translation is "those who are Shaped by the Shaper (Ka'én)".
In addition to a long life span (around 1,500 years for the royal clans of the Wolven) they were blessed with gifts of strength, agility, sight, hearing and smell, all of the physical attributes of a werewolf in manform. To put it simply, they were genetically engineered to fight werewolves, and win. However a few of them were also blessed with a form of clairvoyance or Foresight, some more powerful than others. This ability was most attributed to the Sages of Avakaš.
But at their core the Wolven are, fundamentally, human. They live, they fight, and they die. They love and they hate, but ultimately they share a fundamental connection to the world around them, and have passed into even our later myths and legends...as Atlanteans.
Friday, January 13, 2012
TRADITIONAL FANTASY: The Return?
Ok, so lately, MATHION has been getting some pretty good reviews, especially on Goodreads. One recurring comment I see is the positivity of MATHION's "traditional" storytelling. Let me say this, I never intended the MAVONDURI TRILOGY to shake the foundations of the fantasy genre in its first installment, so I'm glad that people have taken notice of my attempt to hearken back to Tolkien, Howard, and even Conan Doyle in terms of prose style. These authors have been very influential to me in that they created a sense of realism and depth to their fantasy histories. Be aware, though, that THE LAST ASCENSION and especially BOOK THREE will not follow this same formula; MATHION was meant to ease readers into the world through a mode they were already familiar with, and now that they are familiar with the world of the Lands of Émae I have more freedom to experiment with bringing more influences into the mythology as Mathion's story draws closer to its completion.
In terms of the writing itself, the only way (in my mind) to present this is by "translating" the stories from their source. What I mean by that is to tell the story as if it isn't a "story" at all, but rather a recounting of actual historical events that for one reason or another were lost to mankind over the centuries.
Many fantasy authors today try too hard to shake up the fantasy genre in order to meet the demands of a youth culture that, tragically, has lost an appreciation for the subcreative processes that make fantasy what it is. In a world of Twitter and Facebook many young readers are consistently looking for the "next hot thing" or something of that like. And in my personal perception this thought is a flawed one. I for one can't get enough of old stories that present the idea that "history is not what it seems to be" and takes ancient ideas of valor and honor and breathes new life into those morals. Many "fantasies" today are simply that, fantasies. True fantasy, traditional fantasy, is that mode of storytelling that impresses real world lessons on the minds of readers in a fantastical context.
Fantasy is meant, to an extent, to be "escapist" but not "evasive", especially given the times we live in. In a world that has ingratiated itself with the superficial and materialistic, I firmly believe that traditional motifs of fantasy storytelling will steer the world, in particular the youth of this world, into a more selfless and deeper mindset of setting others before themselves, and in that regard will help them "escape" the constraints of a world which demands they put themselves first.
That is not to say that there is no hope for fantasy! I think that the genre is poised for a return to mainstream prominence, and in order to do that we as fantasy authors will have to keep the minds of our readers in our minds as we continue to write. What are they expecting? How can we meet and exceed those expectations? And how can we keep this genre, which has been around since man first conceived of stories, grand and epic and heroic in a world where heroes are fewer and further between?
In terms of the writing itself, the only way (in my mind) to present this is by "translating" the stories from their source. What I mean by that is to tell the story as if it isn't a "story" at all, but rather a recounting of actual historical events that for one reason or another were lost to mankind over the centuries.
Many fantasy authors today try too hard to shake up the fantasy genre in order to meet the demands of a youth culture that, tragically, has lost an appreciation for the subcreative processes that make fantasy what it is. In a world of Twitter and Facebook many young readers are consistently looking for the "next hot thing" or something of that like. And in my personal perception this thought is a flawed one. I for one can't get enough of old stories that present the idea that "history is not what it seems to be" and takes ancient ideas of valor and honor and breathes new life into those morals. Many "fantasies" today are simply that, fantasies. True fantasy, traditional fantasy, is that mode of storytelling that impresses real world lessons on the minds of readers in a fantastical context.
Fantasy is meant, to an extent, to be "escapist" but not "evasive", especially given the times we live in. In a world that has ingratiated itself with the superficial and materialistic, I firmly believe that traditional motifs of fantasy storytelling will steer the world, in particular the youth of this world, into a more selfless and deeper mindset of setting others before themselves, and in that regard will help them "escape" the constraints of a world which demands they put themselves first.
That is not to say that there is no hope for fantasy! I think that the genre is poised for a return to mainstream prominence, and in order to do that we as fantasy authors will have to keep the minds of our readers in our minds as we continue to write. What are they expecting? How can we meet and exceed those expectations? And how can we keep this genre, which has been around since man first conceived of stories, grand and epic and heroic in a world where heroes are fewer and further between?
Friday, December 30, 2011
MAVONDURI 2012
As 2011 comes to an end, it's been a crazy year in retrospect. On January 3rd, MATHION made its world debut on the Barnes & Noble Nook, followed shortly thereafter with releases on Amazon's Kindle and Smashwords.com. Hundreds of people across three continents have read the first installment of the Mavonduri Trilogy, and despite the few that every novel has, received some notable acclaim. Australian fantasy novelist Shane Porteous wrote an alternative werewolf fantasy epic, HOW GODS BLEED, and I was astounded to read the introduction and find that MATHION had been his main inspiration. Averaging 4 out of 5 stars across all the major ebook sites? Better than I ever thought possible. But it brings a lot of pressure to the next year, and the next chapter in Mathion's journey from warrior to mythic hero.
Next year begins with a bang, as I'm encouraging everyone who reads this to retweet #Mathion on Twitter January 3rd, 2012 to celebrate Mathion's first year, and hopefully make it a trending topic on Twitter so it reaches more people. Shortly after, MAKING MATHION PART 2 will premiere on YouTube at TheMavoduriTrilogy. Check out MAKING MATHION PART 1 as well as Mathion's teaser trailer which, as far as I know, has the distinction of being the ONLY book trailer to be entirely made, edited and published all from an iPhone. So I've already got one bragging right...right?
But the big thing is Book Two of the MAVONDURI TRILOGY, THE LAST ASCENSION. I am currently in the thick of it, and finding it a larger, stranger, darker, and more challenging novel that MATHION ever was. Many of you have read excerpts, and I find myself having many questions to answer: Who is Akórahi? What is the real power behind the Uprisers? And I know it sounds cheesy but I'm continually asking myself, "Who will survive?"
Thank you everybody for making this 2011 very special, and a great first year for Mathion!
Next year begins with a bang, as I'm encouraging everyone who reads this to retweet #Mathion on Twitter January 3rd, 2012 to celebrate Mathion's first year, and hopefully make it a trending topic on Twitter so it reaches more people. Shortly after, MAKING MATHION PART 2 will premiere on YouTube at TheMavoduriTrilogy. Check out MAKING MATHION PART 1 as well as Mathion's teaser trailer which, as far as I know, has the distinction of being the ONLY book trailer to be entirely made, edited and published all from an iPhone. So I've already got one bragging right...right?
But the big thing is Book Two of the MAVONDURI TRILOGY, THE LAST ASCENSION. I am currently in the thick of it, and finding it a larger, stranger, darker, and more challenging novel that MATHION ever was. Many of you have read excerpts, and I find myself having many questions to answer: Who is Akórahi? What is the real power behind the Uprisers? And I know it sounds cheesy but I'm continually asking myself, "Who will survive?"
Thank you everybody for making this 2011 very special, and a great first year for Mathion!
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