Writing a book isn’t easy. ‘The Plains of Kallanash’ took me almost a year to write, and there will be several months’ work to revise and get it into a fit state for possible publication. There will be expenses, too – cover art, and professional editing, for example. And it’s a big book, epic in size as well as scope. So why post the entire book, so that anyone who wants to can read it for free? Why give it away? Read more »Follow PaulineMRoss
Adulthood is achieved at the age of fifteen. At that point, any adult can have sex and have children, married or not (Slaves excepted). Contraceptive herbs are freely available. There is a lot of local variation, though. In the villages, children are a haphazard occurrence, and people rarely marry at all. In and around the Karningholds, matters are rather more orderly, and people tend to marry or form other regular relationships before having children. There are economic considerations, too, so amongst craftsfolk and those setting up businesses, marriage will be considered only when they can afford to raise the children (since men and women both work, supporting a wife isn’t a consideration). There is a certain amount of experimentation, sometimes even before the proper age, and some of it is same-gender (which isn’t an issue). Read more »Follow PaulineMRoss
Religion is uniform over the whole Karningplain (the area of the plains covered by Karnings, and ruled from the Ring). The Word of the Gods was first brought by people from the northern coast, some four hundred years ago. There were numerous Petty Kingdoms in existence then, and one by one the kings were converted to the new religion (before that there were numerous different faiths). When all the Petty Kingdoms had converted, and the Word of the Gods had been brought even into the Ring, a new calendar was declared. The story opens in calendar year 205 of the Word of the Gods. Read more »Follow PaulineMRoss
The Brightmoon world is quite complicated, and ‘The Plains of Kallanash’ has an intricate social structure that’s unlike anything in the modern or historical world (as far as I know). It features multiple marriages, with from four to twelve members, which means that many conventional assumptions about the relationships involved simply don’t work.
For instance, it can’t be assumed that sex is an automatic part of the relationship, as it would be between a couple. With two couples, one couple can be sexually active and the other not, one husband may have both wives, or both husbands may share one wife. Even if they are all sexually active, the actual pairings may vary, and can be anything those involved want, from straightforward couples to a complete free-for-all. With more than two couples in the marriage, the combinations can get much more complicated. Anything goes, so long as they all agree to it.Follow PaulineMRoss
I’ve received quite a few critiques now for the opening chapters of ‘The Plains of Kallanash’, and they’ve generally been positive. At the low level (line editing), there isn’t much comment; a few word changes, the odd punctuation error, and a few places where a whole or part of a sentence is seen as extraneous. At a slightly higher level, there are some scenes or even sentences which are seen as having no purpose beyond world-building (and for some that’s true, but others are necessary foreshadowing). The main issue is in knowing what exactly is going on. Some people like everything spelled out for them, and some can go with the flow. Knowing just how much to explain is a complicated business, which I will discuss in detail in another post.Follow PaulineMRoss
Everyone agrees that the opening to a book is critical. Some say it’s the first five pages, some the first 18 lines (the first page on a typical print book), and some will tell you that you have to grab the reader by the throat within the first sentence, or All is Lost.
Well, to be honest, if a reader is so flighty that they’re going to toss a book based solely on the first line, I’m not sure I want them anyway. The first page is trickier. I can see the case for putting something there that’s so compelling that a reader absolutely has to turn the page. It’s all very well for George R R Martin to stick a forty page prologue up front, full of characters who promptly die, dialogue that is deeply portentous but unintelligable, and events that will possibly be understandable three books later, if you’re lucky. Most of us won’t be given that much leeway by the reader.Follow PaulineMRoss
‘The Plains of Kallanash’ is the first book I ever actually completed (in first draft), so now that it’s had several months to brew while I finished another book, it’s time to begin the process of editing. I’ve always imagined that my writing is pretty clean. I don’t make many errors of grammar, spelling or punctuation, and I edit to some extent as I go along, cleaning up yesterday’s writing before starting a new section, adding in elements needed to the early chapters as the plot develops and occasionally revising whole chunks of text when I reached a lull. So it was shock to reread the opening chapters after a spell away from it.
Who wrote this crap? That was my first thought. It was long-winded and dull. I’d tinkered a bit with the opening paragraph, but it still didn’t work. Then there was a long section that was basically exposition, more telling than showing, just atmospheric backstory, before other characters appeared and things started to happen.Follow PaulineMRoss
The first draft of ‘The Fire Mages is now complete. It weighed in at 44 chapters, 151,000 words in the end, and took four and a half months to write, although only 90 days were actual writing days. Average amount written was almost 1,700 words per writing day. This is a big improvement on ‘The Plains of Kallanash’, where I managed only 1,000 words per writing day, and elapsed time was almost a year. Not sure whether I’m getting more productive, or this was an easier book to write. It’s certainly smaller (‘The Plains of Kallanash’ is 220,000 words).Follow PaulineMRoss
Most stories have a villain of some sort to generate conflict (also known as an antagonist). Beginning writers are advised to give their hero or heroine (protagonist) a goal, and to have an antagonist who works against the protagonist, preventing him or her from reaching their goal. The tension rises as the protagonist struggles to achieve the goal and is knocked back more and more decisively; eventually a point of despair is reached, then a solution is envisaged and there is a final confrontation, during which the antagonist is defeated.Follow PaulineMRoss
Most fantasy worlds include some sort of religious belief. It’s such an ingrained part of real-world culture that it can be very hard to conceive of a world without some kind of spiritual element. Some authors use the opportunity to explore aspects of belief that are difficult to address in contemporary fiction, since real religions carry so much historical baggage. Some throw in as many different forms of worship as they can, for depth or to create conflict between groups. Occasionally a fantasy world has no religion at all (like Anne McCaffrey’s Pern series).Follow PaulineMRoss