I’ve decided to give away my collection of sword & sorcery stories. Click here or on the cover image to download it in either Kindle or ePub format.
As of today all four books in my Andoran’s Realm sword & sorcery fantasy series are available. (A four book series is called a tetralogy, in case you were wondering.) The four covers, which don’t exactly go well together, are shown below.
After writing 600,000 or so words of fiction, I feel that I am now a much better writer. It also means that the later books in the series are probably better written. But that’s how it is with a beginning author.
Even though this series is complete, I’m not through with Andoran’s Realm or the wider world around it. I’m planning another series that takes place afterward as well as writing short stories that take place at earlier times (and in a variety of locations). I’ve got enough source material to keep me busy for quite some time.
Anyway, I hope that those of you that have read one or more of my books have enjoyed them.
The inclusion of magic is what leads to a work of fiction being characterized as fantasy, as opposed to some other genre. I am, of course, not referring to stage magic, which is simply trickery, but to something that is completely unscientific. It’s also worth noting that many fantasy stories cross over into other genres, such as mystery or romance.
When an author sets about writing a fantasy novel, they need to decide exactly how magic works in the world they are creating. That’s even true of urban fantasy stories, which take place in something closely modeled on our own world. There are a lot of decisions to make, and they are important. Fantasy readers are willing to accept the possibility of magic, but they expect it to behave consistently. If the rules of magic keep changing, then readers will be taken out of the story.
The first thing that needs to be decided is how many types of magic there are. A single type makes things easier for the author, but multiple types can make for a more interesting world. It really doesn’t matter how many types there are as long as they are well-defined and comprehensible to the reader.
Having come up with a type of magic, the next thing is to decide who can use it. Does it require an inherited ability? Does it require training? If someone casts a spell, does it require gestures? Is an incantation necessary, and how lengthy is it? What about physical aids, such as a wand? Or maybe some type of material component is necessary? How much magic can someone use in a short period of time before it runs out? There has to be some kind of limitation. All of these issues needs to be worked out in advance and then used consistently.
I think that one of the most important facets of magic in fantasy is how common it is. A world where everyone can employ some type of magic is very different from one where only a few unique individuals possess magical abilities. It’s also important to consider how common magical items and magical creatures are.
For me, the inclusion of magic is what makes writing fantasy so much fun. But I also take it seriously. I strive to be consistent in how magic is portrayed. Andoran’s Realm has spell-casters, alchemists, and witches, and they all come about their abilities in different ways. Furthermore, spell-casters have specialities that they concentrate on, such as fire magic. It all combines to make things more varied and hopefully more interesting to my readers. Or so I hope. 🙂
Actually, I’ve already started on the fourth book. But it will be a trilogy for at least a few months. The Guild War (Book Three of Andoran’s Realm), is now available for preorder on Amazon, with a publication date of March 12, 2018.
Like the first two books, this one is based off of my long-running Dungeons & Dragons campaign. Excitement! Adventure! Romance! Intrigue! Intricate business plans! And there’s a dragon on the cover!
How can you resist? Preorder it now! (And buy the first two, if you haven’t already.) And if you like one or more of them, why not leave an honest review on Amazon and/or Goodreads?
Horses, or more generally mounts, are common elements in traditional fantasy. This is hardly surprising. When we think of armor-clad medieval knights, we often imagine them jousting in tournaments, or going into battle mounted on warhorses. In fact, wearing heavy plate armor basically requires a mount for travel purposes.
From a practical standpoint, mounts allow people to travel faster and carry more. Harnessed to a wagon, they expedite trade and make it easier to relocate. They can also be used to perform manual labor, such as plowing fields.
In D&D, mounts allow adventurers to range farther, but they are also a complication. When playing D&D, miniatures are usually employed to represent the characters. In the early days, the miniatures were made from pewter, and came unpainted. These days, a large number of pre-painted plastic miniatures are available. But what hasn’t changed is that there is no good way to deal with mounts. You basically just have to imagine that they are there. If the characters are attacked, then you have to deal with the possibility of a mount being killed, or injured and throwing off its rider. The mount might even have attacks of its own that have to be considered. In short, it’s a mess. And this complication really detracts from the experience of playing.
Another issue is what happens when adventurers go exploring somewhere where the mounts can’t or won’t go. Horses are often left simply tied to some trees. When the adventurers return, the horses might be fine. Or they may have been stolen. Or eaten. Adventurers tend to go through a lot of horses.
When my D&D campaign moved to Andoran’s Realm—a region on a different continent—I made a conscious decision to do away with horses or anything similar. Taking their place are giant lizards. They are used to pull wagons and to pull ferries across rivers. We are told that in the past some were used as mounts, or even ridden into battle, but that is no longer the case. The lizards breed slowly and are in short supply. You won’t find villagers using them to plow fields.
My decision not only improved gameplay, but also simplified the novels I am now writing. I don’t have to deal with obtaining mounts, stabling them, what happens to them during combat, etc. It’s freeing, and it helps to distinguish my books from others out there.
In Part 5, I will discuss how I have incorporated and modified the D&D rules for magical spell-casting into my novels.
Racism is a common problem in our world (and seems to be getting worse). This despite all humans being the same species, and the various races barely differing in genetic makeup. How would things change if there was more than one intelligent species? Would racism give way to speciesism? Would speciesism be even worse?
Dungeons & Dragons has always incorrectly used the word race to describe different humanoid species, so I will continue that practice to avoid confusing those familiar with the game. Thus the original version of D&D included four races: humans, elves, dwarves, and hobbits. (Hobbits were later renamed to halflings, presumably to avoid legal issues.) Later versions of the game expanded on this, although even the original version alludes to the possibility of role-playing other intelligent races.
In my D&D-inspired world of Andoran’s Realm, some places are home to only a single race, while others, are home to multiple races. One would naturally expect those raised amongst only their own kind to harbor stronger prejudices against other races. As a specific example, the second book includes an elf from a small village who was taught not only that elves were superior, but that half-elves were abominations.
Half-elves are treated as a separate race in D&D, and that led me to create a rather unusual form of racism. It exists within the Witch’s City, a place where humans, half-elves, and elves generally coexist peacefully. The second book also includes Rosalind, a half-elf from a family that believes that half-elves are superior because they embody the best of both races. Rosalind doesn’t dislike either humans or elves. On the contrary, she wants them to interbreed to make more half-elves. She’s a racist, but without the hatred and denigration.
It doesn’t end there, of course. In D&D, there are a slew of intelligent “monster” races, including orcs, goblins, gnolls, bugbears, and ogres. And many of these have their own “sub-races”, who might not get along. The opportunities for enmity and racism are boundless.
In Part 4, I will discuss why there are no horses or anything similar in Andoran’s Realm.
Dungeons & Dragons adventures (and many traditional fantasy novels) usually take place in lands that are modeled after medieval Europe. During that time period, there was no gender equality to speak of. With few exceptions, men were the the landowners, the business owners, the ones with authority. Some women were able to rise above this, and many wielded power behind the scenes, but it was really a man’s world.
In the early days of my D&D campaign, it was much the same. Most of the powerful non-player characters were male, including the villains. The group of adventurers was similar, dominated by males. But most of the players running those characters were male, so that wasn’t really surprising. As the years passed, things gradually began to change. I introduced a number of important female characters, both friendly and unfriendly. Players were also more willing to role-play characters of the opposite sex. That not only helped to even things, but it to make the adventures more lively.
In the first book of my Andoran’s Realm fantasy series, it is gender inequality that drives Audrey’s desire to leave her village of Farmerton. As a teenage girl, her future is set. She is expected to marry a man and bear him children. But she yearns to be more, to find a better life.
Audrey ends up in the Witch’s City, where there is much less gender inequality. The city is ruled by a woman. Women serve as city guards. Women run businesses and schools. Audrey soon discovers that the person in charge of the mansion she finds herself living in, isn’t the dragon-slaying husband, but his meddling wife. It’s not the perfect environment, but Audrey thrives there.
In medieval times, there was little in the way of practical birth control. But things are different in Andoran’s Realm. Anti-pregnancy powder, commonly referred to as AP powder, is cheap, readily available, and reliable. It is manufactured by alchemists, and if an unwanted pregnancy does occur, they can provide something to deal with that as well. Just like in our modern world, this empowers the women there. Audrey is certainly happy to learn about it.
Another surprise for Audrey is that prostitution is legal in the Witch’s City. One of her friends ends up taking employment as a courtesan, which I modeled after Japanese geisha, except that they also provide sexual services. (Authentic geisha do not.) Courtesans, some of whom are male, are both well-respected and well paid.
The second book of the series continues the trend, introducing even more strong female characters, including some rather odd ones. For me, it makes the storytelling more interesting and fun. And it’s also a challenge.
In Part 3, I will discuss racism in a world with multiple intelligent races.
I am certainly not the first person to attempt to convert a Dungeons & Dragons (D&D) campaign into a series of fantasy novels, and I probably won’t be the last. But I’ll wager that my campaign has been running longer than anyone else who has tried. It’s been running since the final core rulebook of Advanced Dungeons & Dragons (AD&D) was published over thirty-eight years ago. The official rules of D&D changed over the years, and we made changes of our own, but we remained true to the the original spirit of the game. It’s all about role-playing characters in a fantasy setting, but only in a semi-serious fashion, because it also has to be fun.
I have gotten in the habit of writing detailed summaries of the adventures that I have run as part of my campaign, but they’re not exactly publication-ready. Things need to be described in a more realistic manner. Even though it’s a fantasy setting with monsters and magic, characters have to be believable. They need to have backstories, aspirations, faults, quirks, etc. They need to seem real to the reader.
When I started working on the first book, I ran into a myriad of issues. Do I keep the traditional Tolkien-inspired trappings, such as dwarves and elves? What units of measurements are used? What type of currency is used, and how much do things cost? What do people eat? What do they do for fun? How do the government and economy work? Are there taxes, and if so, how are they levied? And those are only a few of the things I had to consider.
Another problem is that I hadn’t created everything from scratch. I took ideas and names from books, and from the real world. My campaign has the usual pantheon of deities, but I took the names from Hinduism, also integrating the idea of having three major deities. The names clearly had to change, because Hinduism is a current religion with many followers, and I didn’t want to offend them. Vishnu became Arwon, Lakshmi became Lasrina, Krishna became Kyran, and so on. In my books, the names are all different, but the deity’s associations remain basically the same. For example, Lasrina is associated with beauty and luck.
And now we come to what I really want to discuss: death. In D&D, if a character dies, they can be brought back to life using magic. (This is generally performed by a cleric—priest or priestess—but could also be done with some type of enchanted item.) Multiple lives are common today in computer games, but it was a novel concept in 1974. And it was clever. It meant that a player didn’t have to worry that the character they had spent months or even years developing might die and then have to be replaced by a new and far weaker one. Death was merely an inconvenience. Most fantasy novels have nothing like this, or if they do, it’s very limited. But it’s an integral part of D&D, so I decided to not only make use of it, but to embrace it.
What are the ramifications of death not necessarily being permanent? First, there have to be limits. I decided that a body reduced to ashes couldn’t be restored by any means, and that this was the usual method of disposing of bodies. (In D&D, dead bodies can be reanimated as undead—something that most people want to avoid.) I also decided that everyone had a limited number of lives that was unknowable, but was almost always at least two.
There were other decisions to make and questions to answer. What if part of the body is missing, or is in bad condition? Does it always work? What will the person brought back experience? Will they remember being in some kind of afterlife? How will having died affect them? How does knowing that death isn’t necessarily permanent affect society in general? Are people less careful?They would certainly be more comfortable knowing that they had more than one life.
I explored some of these issues in the first book, and more in the second. And it will continue to play a role as I write more books in my Andoran’s Realm series. I think this is one of things that makes my books stand out from many other fantasy novels.
In Part 2, I will discuss issues related to gender equality within my series.
Yes, that’s right. The Witch’s City, the second book of the non-best-selling, non-award-winning, fantasy series Andoran’s Realm, by the non-famous author M. Gregg Roe, is now available for preorder on Amazon in ebook form. It will be published to no real acclaim on August 12, 2017. I should add that the first book of the series, Audrey of Farmerton, has not been optioned by Netflix, HBO, a major film studio, or a television network, no matter what you may have heard.
But seriously, The Witch’s City continues the adventures of Audrey, Saxloc, and many others both in the Witch’s City and at other locations within Andoran’s Realm. Will Audrey and Saxloc ever resolve their romantic issues? Will Gabriel continue to flee at the mere mention of romance? Will Almera ever stop meddling in her son’s life? Why is Siljan such a lousy poet? The answers to some of these questions might be in the book. Or not. Oh, and I think there’s some stuff about witches too.
Be one of the select few to preorder this non-groundbreaking work! Hurry, before Amazon runs out of bits or something.