The DragonShadowed Series

(Associated illustration used without commercial intent) As an author, the most frequent question I get is, “What other books are similar to the Dragonshadowed series?” Without meaning to compare my work with the master, I reply, “Lord of the Rings, but with more action and magic.” That’s the short answer. I realize in spite of the disclaimer, that this IS a comparison with what many proclaim as THE greatest epic fantasy story ever written. I don’t disagree. My long answer is to explain that my series of novels does have all the elements of Tolkien’s world of Middle Earth. The cultures, histories, geographical locations, denizens, and magic is imagined to provide an extensive and cohesive foundation. I trust some of this is apparent to the reader as they progress through each book. Not only should the plot unfold, but I attempt to add additional information as appropriate to each scene. I think of this as ‘color’. Breathing life into an epic high-fantasy world. Like Tolkien, the land of Valdain, and the kingdom of Powys are based on real locations and the historical Dark Ages or early Medieval period in Western Europe. Aside from magic, I include some aspects that are more appropriate to the late Medieval centuries due to the influence of non-human allied races such as dwarves and elves. As an example, in history, scale mail and plate cuirasses don’t exist in our Dark Ages, but are used by wealthy or experienced warriors in Valdain. I endeavor to make each book as immersive as possible by bringing the reader into the viewpoint of one of the main characters in each scene. I intend that the reader sees, hears, smells and experiences what is important to the character at that time. Action should feel intense, while the contemplative chapters allow that same reader to relax and consider what has taken place in the same manner as each character. Having said that, my writing style and the content of each book is compact. By this I mean each scene and chapter is packed with events and information. I do a lot of foreshadowing, and employ a myriad of sub-plots. I try to avoid clichés of every sort, so a slower read should provide a reward of sly humor and unique plot twists to be savored. As an example, the characters aren’t interested in ‘taking over the kingdom’ as might be expected in other fantasy novels! Readers who ‘power through’ the novels can miss important tidbits that rise to become central plot points in later chapters, or even later books. Such readers express surprise at how much they’ve missed when re-reading a book. In addition, each book takes place in a short span of time—two months or even a week. As a result, although the characters change, ‘growth’ is slow. There is no great character arc in each book as might be expected in other genres . Every book is meant to stand alone as a separate adventure. Book 6 is meant to be understandable even if it is a reader’s introduction to the series. Of course, should a reader start later in the series, my hope is they will be curious enough to pick up earlier novels. The Dragonshadowed Series is primarily written to entertain. I do my best to make sure every novel keeps a ‘G’ rating while acknowledging that my setting is rough and unforgiving. Unlike George Martin and the Game of Thrones series in which he wants his readers to be afraid to turn the next page, I don’t write gore or sexuality for shock value. Readers are safe to cheer for their favorite character. Unlike the Harry Potter series, I have no underlying message other than the basis of the universal theme of good vs. evil.  Aside from J.R.R. Tolkien, I rely heavily on Mallory’s Morte D’Arthur (the original). It’s a tough read for someone from the 21 st century, but contains a treasury of incidents and realism absent in constant reimaginings. Persons interested in the historical foundation of Romano-British history will be pleasantly surprised by how much more these stories make sense. Another, frequent question is “Where do I get my ideas? Don’t I get blocked when writing?” The short answer is I write according to a master plot outline, so the second answer is ‘no’. I hasten to add that the master outline only guides my writing, and there is still plenty of room to add additional characters and events in each book. This also allows me to write the time witches as having intimate knowledge of future events. And keep that pesky ‘foreshadowing’ accurate. Some more asides . . . Generally speaking, I’ve written the next three novels as drafts before each book is published. Not because I’m trying to hold publication back, but the reality is that the publication process takes more time than writing. This process also makes every novel as good as possible. I don’t use A.I. and will never do so. Writing is the most enjoyable part of being an author, so I won’t compromise and spew out derivative drivel. Role players often ask about the characters. The main characters and many of the supporting characters—even villains—are ‘player characters’ from a variety of campaigns, many of which I know nothing about. These characters are graciously provided to me as an author to be immortalized in print. With that in mind, SPOILER ALERTS. If you don’t like spoilers, stop here. Two tidbits of information in answer to the most asked questions regarding future novels: Yes, Tamsin and Gyrfalcon do eventually get together, but a lot needs to happen first, and it’s a long time coming. Dairug and his hammer do reconcile. It’s not easy, and happens much sooner than Tamsin and Gyrfalcon’s resolution. So how many more books do I expect for the Dragonshadowed series? Book 6 was just published as of this writing, so I project another ten to complete the immediate story arc. Anything beyond that depends on how long I live to continue putting pen to paper!

(Associated illustration used without commercial intent) Stories of the fey world go back beyond ancient times into pre-history. Before Rome, the Celtic and Scandinavian people of northern Europe lived in small tribal plots within extensive forests, linked together by rudimentary trails and travelling druids. The vast majority of their stories, beliefs and culture have been lost. What remains is gathered from fragments, often through the testimony of their enemies. Most readers of fantasy are aware of the Norse gods and legends. It’s rarer still that readers are aware of the myths of heroic Cu Chulainn, the Tuatha De Danann, or the Fir Bolg. Much of the modern fantasy genre is built upon the foundation of Celtic mythology. Tolkien relied on the epic Dark Ages poem, Beowulf, when constructing much of the world of Middle Earth. The tales of King Arthur are filled with mentions of the fey realm—especially in reference to his half-sister, Morgan le Fey. Shakespeare’s famous play of a Midsummer’s Night Dream is set in the fairy court of Oberon and Titania. The novel, Three Hearts and Three Lions takes place in a world of elves and fairies, and is the original inspiration for regenerating trolls as are common in most role-playing games. The books of the Dragonshadowed series are evolved from these roots, as are most stories of epic high fantasy and action adventure. Note that I use the word ‘realm’ to denote what other fantasy and science-fiction authors call ‘planes.’ The denizens of Valdain have no concept of other worlds, so view alternate planes as remote foreign kingdoms. Difficult to reach without magic, perhaps, but well within their world-view and understanding of enchantment. No information about the fey realm of the Dragonshadowed series can be complete without mentioning the elves. As the first of the blessed races, it was the elves that discovered another place, co-existing with the mundane world, but subject to rules and laws that were malleable rather than fixed. As the elves explored, they determined that much of this new realm was linked to their lands, but remained distinct, like two different but complimentary notes played on a lute. They called this land Annwvyn, later referred to simply as Between. It is the closest alternate plane to the mortal realm, and exists between the mortal realm and all the other realms that touch each other via direct minglings. Although elves enjoy a special relationship with the lands of Between, not all elves are able to transit to those lands. This might be compared to the ability of all humans having the potential to read and write, but not all do. In Areskel’s case, he couldn’t mingle into Between during the events of the Dragon Flight novella. He was trained to mingle later into Annwvyn by his father-in-law during his visit to the hidden elven lands of Telphyne. During the First Aeon, and before the wars that transitioned time into the Second Aeon, there was little difference between the mortal realm and Between from an elvish perspective. The inhabitants were different, but the same could be said regarding the variety of creatures inhabiting each realm. The intelligent creatures that lived primarily within Annwvyn became known as the Cymru and were ruled by elven nobility. Here, there was no death. Creatures could ‘harm’ each other without fear of consequences, much like cartoon characters. A being could be crushed under a boulder or blasted by lightning, and walk away with no more than a little embarrassment. As a result, the denizens of Annwvyn have no understanding of personal responsibility or consequences to this day. Although all Cymru races are immortal, that doesn’t mean they can’t die or be killed. During the wars of the Second Aeon, and later goblin invasions into the lands of Valdain, death arrived. Unlike goblins and mortal creatures, the fey cannot survive wounds caused by iron or steel without powerful healing magic. Even silver and other pale metals are toxic to some degree. The initial battles between the fey, their elven rulers, and the evil iron-wielding races were devastating. The fey went into battle secure in the knowledge that they would always rise, and left fields full of eternally dead. Fortunately, the other blessed races able to use iron came to their defense, and defeated evil. In Valdain the rescue came at a price. The immortal fey of that land bargained to save themselves, and are eternally indebted, and to some degree enslaved by humans. Mages and some clerics of Tanit take advantage of that fact. The actual lands of Annwvyn bear similarities to mortal lands, but also operate with physical and customary laws unique to the fey. The most notable difference to a traveller may be the strange light and topography, or the way each area manifests changes according to the will and personality of the local ruler. Powerful visitors, especially elves, may command any fey, or take control of a kingdom by deposing the existing ruler. Areskel does so in some novels. Generally, all fey territories have breathable air, hospitable temperatures, gravity, and understandable terrain features. Plants and houses may look very different, but remain identifiable as trees and shrubs; hovels and castles. Travel from the territory of one ruler to the next may be difficult or impossible depending on established wards and portals. Local fey take advantage of this, and will attempt to strike bargains with travellers who wish passage, or otherwise become embroiled in any number of tricks and traps. The unwary may find themselves freed from a predicament, only to be enslaved for life. The kingdoms of Annwvyn are primarily divided into two camps: The Seelie ruled by King Oberon and Queen Titania, and the Unseelie ruled by the Queen of Air and Darkness and by a current but ever-changing consort. Travellers should note that designating one court ‘good’ and the other ‘evil’ is oversimplification. Both are fey and do not adhere to human notions of ethics or morality. Two other courts exist, referred to as the ‘Dawn’ and the ‘Twilight’ courts. Few travellers reach these distant places.