He was still a nobleman, however, and a sometime member of parliament, so he was able to persuade his jailors to let him visit a nearby library (under guard, of course). Sir Thomas was quite proud of his facility in the French language, and he whiled away the hours of his incarceration translating the endless French romances dealing with (what else?) King Arthur. The end result was the work we now know as Le Morte darthur.
A technological break-through along about then ensured a wide distribution of Malory’s work. William Caxton had a printing press, and he evidently grew tired of grinding out religious pamphlets, so, sensing a potential market, he took Malory’s manuscript and edited it in preparation for a printing run. I think we underestimate Caxton’s contribution to Le Morte darthur. If we can believe most scholars, Malory’s original manuscript was pretty much a hodgepodge of disconnected tales, and Caxton organized them into a coherent whole, giving us a story with a beginning, a middle, and an end.
Now we jump forward another four hundred years. Queen Victoria ascended the British throne at the age of seventeen. Queen Victoria had opinions. Queen Victoria didn’t approve of ‘naughty stuff’. Queen Victoria had a resident poet, Alfred Lord Tennyson, and he cleaned up Malory for his queen to produce a work he called Idylls of the King. Idylls of the King is a fairly typical Victorian bowdlerization that accepted the prevailing attitude of the time that Le Morte darthur was little more than ‘bold bawdry and open manslaughter’. It glossed over such picky little details as the fact that Guinevere was an adulteress, that King Arthur did have an incestuous affair with his half-sister, Morgan le Fay, and other improprieties.
Another hundred years slip by and we come to Papa Tolkien, who was probably even prissier than Queen Victoria. Have you ever noticed that there aren’t any girl Hobbits? There are matronly lady Hobbits and female Hobbit puppies, but no girls. The Victorians maintained the public fiction that females don’t exist below the neck.
Contemporary fantasists all bow politely to Lord Tennyson and Papa Tolkien, then step around them to go back to the original texts for inspiration – and there are a lot of those texts. We have King Arthur and his gang in English; we’ve got Siegfried and Brunhild in German; Charlemagne and Roland in French; El Cid in Spanish; Sigurd the Volsung in Icelandic; and assorted ‘myghtiest Knights on lyfe’ in a half-dozen other cultures. Without shame, we pillage medieval romance for all we’re worth.
Operating by trial and error mostly, we’ve evolved a tacitly agreed upon list of the elements that make for a good fantasy. The first decision the aspiring fantasist must make is theological. King Arthur and Charlemagne were Christians. Siegfried and Sigurd the Volsung were pagans. My personal view is that pagans write better stories. When a writer is having fun, it shows, and pagans have more fun than Christians. Let’s scrape Horace’s Dulche et utile off the plate before we even start the banquet. We’re writing for fun, not to provide moral instruction. I had much more fun with the Belgariad/Malloreon than you did, because I know where all the jokes are.
All right, then, for item number one, I chose paganism. (Note that Papa Tolkien, a devout Anglo-Catholic, took the same route.)
Item number two on our interim list is the Quest’. If you don’t have a quest, you don’t have a story. The quest gives you an excuse to dash around and meet new people. Otherwise, you stay home and grow turnips or something.
Item number three is ‘The Magic Thingamajig’ – The Holy Grail, the Ring of Power, the Magic Sword, the Sacred Book, or (surprise, surprise) THE JEWEL. Everybody knows where I came down on that one. The Magic Thingamajig is usually, though not always, the object of the quest.
Item four is ‘Our Hero’ – Sir Galahad, Sir Gawaine, Sir Launcelot, or Sir Perceval. Galahad is saintly; Gawaine is loyal; Launcelot is the heavyweight champion of the world; and Perceval is dumb – at least right at first. I went with Perceval, because he’s more fun- A dumb hero is the perfect hero, because he hasn’t the faintest idea of what’s going on, and in explaining things to him, the writer explains them to his reader. Don’t get excited. I’m not putting Garion down. He’s innocent more than stupid, in the same way Perceval was. Actually, he’s fairly clever, but he’s a country boy, so he hasn’t been exposed to very much of the world. His Aunt Pol wanted him to be that way, and Polgara has ways to get what she wants.
Item number five is the resident ‘Wizard’ – Merlin, usually, or Gandalf – mighty, powerful, and mysterious. I scratched that one right away and went with Belgarath instead, and I think it was the right choice. I’ve got a seedy old tramp with bad habits – who just incidentally can rip the tops off mountains if he wants to. I chose to counter him with his daughter, Polgara, who doesn’t really approve of him. That sorcerer/ sorceress (and father/daughter) pairing broke some new ground, I think.
Item six is our heroine – usually a wispy blonde girl who spends most of her time mooning around in a tower. I chose not to go that route, obviously. Ce’Nedra is a spoiled brat, there’s no question about that, but she is a little tiger when the chips are down. She turned out even better than I expected.
Item seven is a villain with diabolical connections. I invented Torak, and he served our purpose rather well. I even managed to give him a fairly believable motivation. “Iton helped on that one. Torak isn’t exactly Lucifer, but he comes close. As usual, he has a number of evil underlings to do his dirty-work for him.
(Stay with me. We’re almost done.) Item eight is the obligatory group of ‘companions’, that supporting cast of assorted muscular types from various cultures who handle most of the killing and mayhem until the hero grows up to the point where he can do his own violence on the bad guys.
Item nine is the group of ladies who are attached to the bully-boys in item eight. Each of these ladies also needs to be well-defined, with idiosyncrasies and passions of her own.
And finally we come to item ten. Those are the kings, queens, emperors, courtiers, bureaucrats, et al who are the governments Of the kingdoms of the world.
OK. End of list. If you’ve got those ten items, you’re on your way toward a contemporary fantasy. (You’re also on your way to a cast of thousands.)
All right then, now for a test: ‘Write an epic fantasy in no less than three and no more than twelve volumes. Then sell it to a publisher. You have twenty years.’ (Don’t send it to me. I don’t have a printing press, and I do not read in the field. It’s a way to avoid contamination.) STOP!! Do not uncover your typewriter, uncap your pen, or plug in your computer just yet. A certain amount of preparation might help. It’s a good idea to learn how to drive an automobile before you hop into the family car and take off for Los Angeles, and it’s probably an equally good idea to browse through a couple of medical texts before you saw off the top of Uncle Charlie’s head in preparation for brain surgery.
Let me stress one thing at the outset. This is the way we did it. This is not the only way to do it. Our way worked out fairly well, but others, done differently, have worked just as well. If you don’t like our way, we won’t be offended. Now, of necessity, we get into a bit of biography. This introduction is designed to provide enough biographical detail to answer students’ questions and to provide a description of our preparations. I hope it satisfies you, because it’s all you’re going to get. My private life is just that – private – and it’s going to stay that way. You don’t really need to know what I had for breakfast.
I was born in Washington (the state, not the city) in 1931. (Go ahead. Start counting. Depressing, huh?) I graduated from high school in 1949, worked for a year, and then enrolled in a junior college, majoring in speech, drama, and English. I tore that junior college up. I won a state-wide oratorical contest and played the male lead in most of the drama presentations. Then I applied for and received a scholarship at Reed College in Portland, Oregon, and Reed turned out to be quite a bit more difficult. The college required a thesis for graduation, so I wrote a novel (what else?). Then I was drafted. The army sent me to Germany instead of Korea – where people were still shooting at each other. I’d studied German, so I got along fairly well, and when I wasn’t playing soldier with my jeep and my submachine gun, I made the obligatory pilgrimages to Paris, London. Vienna, Naples, Rome, Florence, and Berlin (before the wall). It was all very educational, and I even got paid for being in Europe.