I’m pleased to announce that my fantasy series, the Jakirian Cycle is finished! All the last edits are done and it should be hitting both the real and electronic shelves around October.
Some of you who have checking into MGC for a while might recall the first novel in the series, The Calvanni, which made an appearance here in 2009.
It’s exciting to have completed the trilogy, and it will be great to end the wait for those who started the series with The Calvanni, either in its 2006 Australian print incarnation or its later 2009 electronic version.
One of the things I grappled with Jakirian Cycle (typical of fantasy series) was the considerably wide scope of the story. Without giving too much of the plot away, at the start of The Calvanni the Eathal – the cavern dwelling cousin-species to humans – are launching a major offensive on the remnants of a once vast human Empire. But this is very much in the background.
In the first book the central characters are struggling to survive amid civil strife and assassination attempts (Ellen), while dealing with the emergence of their own unique magical powers (Cedrin).
In the second book, the first major engagements are taking place between the Eathal and the last few human Legions, but the focus is still on the characters and their personal journeys and the mystery of the Scion (the lost heir to the fallen Empire).
In Sorcerer – third book of the trilogy – the clash of human and Eathal occurs on a massive scale. Tens of thousands of human and Eathal troops are fighting across two major fronts. From the PoV of the central characters, they are being drawn more and more into the centre of power in Yos. Both Cedrin and Ellen find themselves right at the core of the reestablished Bulvuran Empire. Amidst all this are the various Warlords who divided up the fallen Empire. The most powerful of whom is facing the Eathal in southern Yos while being heavily outnumbered and under strength in the magical department. To do justice to this, I needed to make that Warlord a PoV character, and needed to portray these major engagements.
Various subplots that have been in the background since the first book all come to the fore in Sorcerer. All of this led to the introduction of a lot of new characters. Each is important to the story in some way, but most are not central or point-of-view characters. Trying to control this crowd, and do them justice was certainly a challenge!
Numerous times I’ve had to scramble back through the book and insert a few key paragraphs. ‘Oh, Damn! Such-and-such was still with Cedrin in that scene.’ or ‘Oh, crap. Where were they when that combat was happening?’ I need to keep them in the picture, but without diluting the thread of the main character too much. There were so many of these minor characters it really proved a teeth-grinding experience. Oh for a simple story! I am my own worst enemy with this. Yet with book three I also tried to lay the foundation for the ultimate conclusion of what might extend to a possible six books series. Don’t worry – Sorcerer ends with a great climax and the first three books stand as a trilogy.
If you love battle scenes, Sorcerer will definitely be your sort of thing. In that regard it is my homage to David Gemmell:) Using the unique magic of Yos, including the glowmetals, on that scale was a real buzz.
Back to dealing with multiple characters: I always try to maintain the focus of the story through a small number of key point-of-view characters. There may be many other characters introduced to support the story, or to give the setting the feel of the political landscape, but I try to have these experienced through the viewpoint of the key characters. I think it can even aid the tension in the story to have the motivations of these characters unclear – and that’s hard to pull off if they are the narrator. It’s also surprising how much you can convey objectively, without having to make them a PoV character.
It is a tricky balance though. It’s hard to do them all justice, to convey their motivations and to give the reader a sense that these minor characters are moving through the story not just being present as a background cut-out. More than once I shook my head writing Sorcerer and said ‘What the Hell have I got myself into?’
Still, I think it’s worth it to see the various sub-plots come into effect. It gives the whole thing a depth and complexity.
Have you ever been frustrated by the Cast of Thousands? How do you deal with it? Kill them off? Limit their appearances? Tear up your draft?
Cross-posted at chrismcmahons blog.