Tad Williams, The Witchwood Crown, and the Gardenborn calendar

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arly this morning, Tad Williams released the latest edition of his newsletter, where he talks about his writing, specifically with regard to The Witchwood Crown and the Gardenborn calendar.

Readers of Williams’ classic “Memory, Sorrow and Thorn” series (comprised of The Dragonbone Chair, Stone of Farewell, and To Green Angel Tower) will remember that the Gardenborn are the elder, elf-like race who sailed across the seas to Osten Ard from a mysterious eastern land known as Venyha Do’sae, the Garden That is Lost. The Gardenborn clans, composed of Sithi, Norns, Dwarrows and Niskies, settled in Osten Ard and established rule over a land empty of men… until centuries later, when mortal men arrived from across the western seas.

In “Memory, Sorrow and Thorn”, Williams had previously developed calendars that were used in most of the mortal realms; the main calendar closely resembled our own (Gregorian) calendar: months with alternate-reality names like Septander, Octander, Novander and Decander. The months July and August were named Tiyagar and Anitul, after the Nabbanai imperators Tiyagaris and Anitulles. (An interesting aside: although they are never mentioned in the text or the appendices, a careful reader can infer (even though readers are told to “avoid assumptions,” we’ll risk it here) that there are old Nabbanai gods named Jonevus (or similar) and Marris based on the Erkynlandish months named Jonever and Marris, and also likely an old Nabbanai god named Satrinus, based on the Erkynlandish day named Satrinsday).

Despite Williams’ detailed work on the mortal calendars of Osten Ard, the full calendars of the long-lived Gardenborn were never revealed in the original Osten Ard novels. However, with the upcoming release of the new “The Last King of Osten Ard” sequel series, the focus has turned to the Norns, according to the author, and their calendar now plays a part in the new books.

Mr Williams gives some insight into his creative writing process as he talks about how the Gardenborn calendar developed in the writing process. He also gives some insight into how important it was for him that the new books match up with the old books when it comes to continuity. Williams writes:

So a few weeks ago I’m working my way through the 1st novel of the new trilogy, The Witchwood Crown, in final rewrite.  One of the many things that happens during my final rewrites is that I crystallize a lot of the smaller details, or sort out confusions and inconsistencies and commit to a final version of troublesome bits of the history/plot/etc.  In this case, I decided I needed more references to calendars for the “immortals”, especially since in this book I’m actually spending a lot of time with the Hikeda’ya — aka, the Norns.  One of the things that we learn in the new books is that the name of the Norns and Sithi when they were still one people was “Keida’ya” — “Witchwood Children”, because of the importance of that tree and its products to their civilization going all the way back to their old home, the Lost Garden.

There’s already some built-in complexity because of their old calendar from the Garden and their way of counting years — a Keida’ya Great Year is a bit more than sixty years in length (and why that’s true is another story for another newsletter) but they’ve been living in Osten Ard, which is more or less like our world, for thousands of years, so they have to have developed some kind of calendar that matches our world.  The most obvious markers for such things are the stars, the sun, and the moon.  The stars feed into the Great Year idea and others, so I concentrated on moons as the source of the calendar, as they are (roughly) with most real-world societies.

Williams states that during the writing of The Witchwood Crown, he conceived of months with names like Mother, Father, Child, Flower, etc. Eventually, however, he discarded these names entirely when he realized a partial list of months might potentially already exist in the later chapters of Stone of Farewell, in the magical song that Aditu sings when she brings Simon to Jao e-Tinukai’i, the Gardenborn settlement hidden deep in the ancient Aldheorte Forest:

"Memory, Sorrow and Thorn"

Aditu and her brother Jiriki, cover of To Green Angel Tower

I realized that I already had the beginning of what could be a symbolic lunar calendar back in Stone of Farewell, when Aditu the Sitha leads Simon “from winter into summer” — from the rest of the world, in the grip of the Storm King’s winter, into Jao é-Tinukai’i, a place where the Sithi hold sway, which is at least temporarily immune to the Storm King’s magic.  When I thought about all these evocative characters that Aditu mentions as she takes Simon from one season into another, it suddenly made sense that she should be invoking the names of things or powers or spirits or gods or whatever pertaining to different times of the year — in other words, her journey through seasons should be in part evoked in the names of the moons from different parts of the year.

The character names that Aditu invokes in this passage (the Serpent, Wind-Child, Tortoise, Cloud-Song, Otter, Stone-Listener, Lynx, and Sky-singer), then temporarily became the basis for the Gardenborn calendar in Williams’ draft of The Witchwood Crown, providing an explanation for Aditu’s invocation of those names in the novel. Williams then added four additional names (Ice-Mother, Wolf, Raven, and Fire-Maiden) to the already existing names to bring the full number of months to twelve. Then the author ran into a major problem:

I made this list and was all happy and pleased with myself — I even went back to the Witchwood Crown manuscript and put these moon names in various places where I’d left a blank space waiting for a date-name, especially in the Norn sections — I had a horrible recollection.(Horrible because it would mean more work.  Thank God it came to me before the book was finalized!)

Anyway, what I remembered was that when Simon, Binabik, and Miriamele entered into the deserted Sithi city of Da’ai Chikiza by river (and the city will almost certainly feature in the new books) they passed under a succession of bridges, called “Gates”, that had something to do with moon cycles.  So I went back to The Dragonbone Chair and looked it up and damned if Binabik didn’t specifically say “These gates represent cycles of the moon”.  So immediately my most recent moon calendar turned out to be wrong, because TDC mentions several “gate” names, and none of them correspond with Aditu’s incantation.

So there I was.  I either had to say Binabik was mistaken (which goes clear against my principles, unless it’s in a minor, minor mistake that can be easily explained) or I had to throw out everything that didn’t match, which would mean that the new Da’ai Chikiza stuff would wipe out my (still unpublished) second version based on Aditu’s incantation.  Which would be a shame, because I really liked the connection, and it brought a little quasi-historical light to a magical section of the old books.

The author then decided to merge the two draft calendars together to create one unified calendar:

Thinking about it, I decided that what seemed quite realistic to me was that each patron spirit (or god or ancestor, or legendary hero/heroine, or whatever) might have both attribute names and animal names — that both could be ways to describe them, but neither would be the patron spirits’ actual NAMES.  So then the problem was to make the two lists match up somehow.

Williams’ letter not only sheds light on his creative writing process, it also reveals how deeply committed he is with establishing a continuity between two series of novels (“Memory, Sorrow and Thorn” and “The Last King of Osten Ard”) which were written thirty years apart. It is clear that Williams has been working diligently to avoid major continuity errors.

The Dragonbone Chair, book 1 of Memory Sorrow and Thorn

The cover of The Dragonbone Chair shows Simon, Binabik, and Miri traveling through the ruins of Da’ai Chikiza

Hidden in Williams’ text is another (small, but important) revelation: that the lost Sithi city of Da’ai Chikiza, Tree of the Singing Winds, will also feature somewhere in the new series. Da’ai Chikiza is the ruined city depicted on the cover of The Dragonbone Chair; what remains of the city are the old Sithi ruins through which the main protagonists, Binabik, Simon, and Miri, travel as they attempt to escape the Queen’s hunter Ingen Jegger and his deadly white hounds.

The Witchwood Crown, the first novel in the upcoming “The Last King of Osten Ard” series, is set for publication in April 2017, to be proceeded by the shorter Osten Ard novel The Heart of What Was Lost in January 2017, and to be followed sometime thereafter by three more long Osten Ard novels (provisionally titled Empire of Grass, The Navigator’s Children, and The Shadow of Things to Come).

To subscribe to Tad Williams’ mailing list, and for regular updates on the publication schedule for the five new Osten Ard novels, click here.

 

 

 

 

Tad Williams’ “The Heart of What Was Lost” available for pre-order on Amazon

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ig news today, as Amazon has added Tad Williams’ The Heart of What Was Lost to its website as an item which may now be pre-ordered from Amazon. The new novel, a sequel to the original classic “Memory, Sorrow and Thorn” books, takes place sometime shortly after the events of the original series.

Amazon gives the length of the novel as 368 pages in hardcover, with a publication date of January 3rd, 2017. Amazon also lists the Kindle edition as available for pre-order. Williams, the international bestselling author of more than twenty speculative fiction novels, including The War of the Flowers, Caliban’s Hour, and the “Otherland”, “Shadowmarch”, and “Bobby Dollar” series, talked a bit about some of the plot details of the new novel, including a few spoilers:

[R]eturning characters from MS&T are Isgrimnur and Sludig […] There are also a few others such as Akhenabi (a Norn magician) who had brief appearances in MS&T.

So two of the characters will be the returning Rimmersmen Isgrimnur and Sludig; readers of the original series will recall Isgrimnur, the aging Duke of Rimmergard in “Memory, Sorrow and Thorn”, a major point-of-view character who throws his lot in with the rebel Prince Josua Lackhand of Erkynland in their quest to remove Josua’s brother, the treacherous King Elias, from the Dragonbone Chair.

Sludig was Isgrimnur’s lieutenant, and he was a dynamic and important character in the original trilogy. It is Sludig who accompanies Simon, Binabik and Binabik’s wolf companion Qantaqa north from Naglimund Castle, skirting around the western and northern sides of Aldheorte Forest in a desperate, cold attempt to retrieve the lost sword  Thorn from the “Rhymer’s Greate Tree.” Sludig and Binabik eventually return to Prince Josua with the Great Sword Thorn, but it is Simon who is knighted by the prince.

The Heart of What Was Lost is Williams’ first new Osten Ard novel since 1993’s bestselling To Green Angel Tower, and this first new novel will be followed by four additional novels. The second novel, The Witchwood Crown, is already scheduled for an April 2017 release.

 

 

Tad Williams Releases Early Maps and Diagrams from “The Witchwood Crown”

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egendary science fiction and fantasy writer Tad Williams, author of the “Memory, Sorrow and Thorn”, “Otherland”, “Shadowmarch” and “Bobby Dollar” speculative fiction series, has spent the last two years writing The Heart of What Was Lost and The Witchwood Crown, the first two of five new books set in the same universe as “Memory, Sorrow and Thorn”.

Williams is now releasing some early, provisional sketches that he created during the writing of The Witchwood Crown, which his wife and business partner Deborah Beale kindly shared with us, and which we are now sharing with all readers.

5678The first sketch is a map (right, clickable) of Sturmrspeik, the great mountain of ill repute inhabited by the Norns, embittered relatives of the immortal Sithi. Beneath the great mountain lies the ancient city of Nakkiga, home to Utuk’ku Seyt-Hamahka, Queen of the Norns and Eldest of all living beings in Osten Ard. Williams’ rough map shows the location of the mountain itself, with the great Nakkiga Gate guarding the pass. Around these landmarks are the white waste of the Himilfell Mountains, which stretch both eastward and westward from the area.
1234The second map sketch (left, clickable) is also of Sturmrspeik and Nakkiga, showing the locations of several well-known Norn landmarks as well as some which are entirely new. The Queen’s throne room appeared in the classic series, and makes a reappearance in the new map. Among the new landmarks are a Black Garden and a White Garden, as well as a subterranean lake, and an area marked as Great Processional. A bridge over the moat connects Nakkiga’s tunnels with the Queen’s Bridge.

We have more maps and diagrams, and will share more soon.

Tad Williams Writes About Editing Process of New Osten Ard Novels, Hints of More to Come…

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his week, acclaimed Science Fiction and Fantasy author Tad Williams, author of the Memory, Sorrow and Thorn; Otherland; and Shadowmarch series, announced via his official newsletter that he is in rewrite mode on two of his new novels, The Heart of What Was Lost and The Witchwood Crown, both due for publication by DAW Books in 2017. Both novels are set in Osten Ard, in the same universe as his classic Memory, Sorrow and Thorn books. Williams wrote:

I am deep, deep, DEEP in Osten Ard history at the moment.  Having finished the first drafts of both THE WITCHWOOD CROWN and THE HEART OF WHAT WAS LOST — in the first case, most of a year ago — I’m in rewrite mode on both to finalize the stuff I left vague in the first drafts.

Williams began writing The Witchwood Crown in 2014, and had finished the rough draft  back in May 2015. The first draft of The Heart of What Was Lost was completed in November 2015.

Williams has communicated that the writing process for the new Osten Ard novels has been unusual in that although he normally writes very detailed drafts, in this case, he has spent much more time on the worldbuilding, because returning readers already know this world:

I know so much more about my own imaginary environment than I did a year ago, despite the fact that I think it was already one of the more catalogued invented worlds.  I know the name of all the original Scrollbearers (the learned folks who make up the League of the Scroll) when King Ealhstan began it, two hundred years or so before Simon and company.  I know the history of the two great families of immortals, the Hamakha and Sa’onserei, all the way back to the garden, in far more detail than anyone else needs to know.  I know the order in which the Eight Ships came to Osten Ard, and I know what happened to Seni Ohjisá, mentioned only in a song in the first set of books.  I know the names of people’s horses when even the names of the people who ride those horses will remain essentially meaningless trivium in the final story, if they even show up.

Stone of Farewell, book 2 of Memory Sorrow and Thorn

Stone of Farewell (1990) discusses the Hamakha-Sa’onserei feud and the eight ships of the Garden

Williams’ mention of the families Sa’onserei and Hamakha refers to the ruling dynasties of the Sithi and the Norns, two of the immortal (and ever-feuding) races in the classic Osten Ard novels, with Queen Amerasu no’e-Sa’onserei presiding over the mortal-hating Sithi, and Queen Utuk’ku seyt-Hamakha ruling over the even-more-mortal-hating Norns.The two families’ bitter, centuries-long feud is a central plotline in Memory, Sorrow and Thorn, and lies at the heart of the conflict in the series.

Williams’ reference to the “Eight Ships [that] came to Osten Ard” harkens back to the legendarium of the Gardenborn, the immortal clans exiled from the Lost Garden, which the author only briefly hinted at in passages of the classic Osten Ard novels, written in the 1980s and 1990s. Stone of Farewell (1990) mentions the eight ships, as the protagonists Simon and Aditu enter the Gardenborn city of Jao e-Tinukai’i, and pass by the woven cord art at the edge of the city:

They crossed a bridge over one of the river-forks, then turned and followed the watercourse down a long corridor of willows. A ribbon of white cloth wound in and out among the trees on their left, wrapped about trunks and looped over branches. As they passed farther down the row of willow sentries, the initial ribbon was joined by another. These two snaked in and out, crossing behind and before each other as though engaged in a kind of static dance.

Soon more white ribbons of different widths began to appear, woven into the growing pattern in knots of fantastic intricacy. These weavings at first made up only simple forms, but soon Simon and Aditu began to pass increasingly complex pictures that hung in the spaces framed by the willow trunks: blazing suns, cloudy skies overhanging oceans covered with jagged waves, leaping animals, figures in flowing robes or filigreed armor, all formed by interlaced knots. As the first plain pictures became entire tapestries of tangled light and shadow, Simon understood that he watched an unfolding story. The ever-growing tapestry of knotted fabric portrayed people who loved and fought in a gardenlike land of incredible strangeness, a place where plants and creatures thrived whose forms seemed obscure even though precisely rendered by the unknown weaver’s masterful, magical hands.

Then, as the tapestry eloquently showed, something began to go wrong. Only ribbons of white were used, but still Simon could almost see the dark stain that began to spread through the people’s lives and hearts, the way it sickened them. Brother fought brother, and what had been a place of unmatched beauty was blighted beyond hope. Some of the people began building ships…

“Here,” Aditu said, startling him. The tapestry had led them to a whirlpool swirl of pale fabric, an inward-leading spiral that appeared to lead up a gentle hill. On the right, beside this odd door, the tapestry leaped away across the river, trembling in the bright air like a bridge of silk. Where the taut ribbons of the tapestry vaulted the splashing stream, the knots portrayed eight magnificent ships at sea, cresting woven waves. The tapestry touched the willows on the far side and turned, winding back up the watercourse in the direction from which Simon and Aditu had come, stretching away from tree to tree until it could no longer be seen.

Williams then writes about the editing happening on both of the new novels, writing that he has received (hopefully useful) feedback from early readers of the manuscripts:

And I’ve also been getting the first feedback from readers of the new manuscripts in the last half-year, so I’m trying to let that wash over me as well, influencing the rewrites in a good way without overwhelming my own natural trust in what I’m doing.

That last part is particularly important, because I chose to let my first readers see a much rougher first draft (at least of TWC) than usual, so of course everyone pointed out the stuff that I would most liked to have fixed first before releasing, like “So-and-so has no personality”.  I mean, it’s true — So-and-so is definitely a stiff at this point, but part of that is because when I was writing it I wasn’t exactly sure how old So-and-so was, or what he or she had experienced in life, or what was going to happen to him or her later on, and which of the character’s traits and what part of his or her life history would be useful and necessary to deepen the character, and so on.

He then reveals that he is considering, down the line, writing an Osten Ard compendium, perhaps something like the Tolkien Companion or George R.R. Martin’s The World of Ice and Fire:

The balance point here, as in any worldbuilding, is knowing how much material you need to know to feel comfortable writing in that world — which will always be less than you’ll actually use.  Even though my worlds are generally long on history and convoluted recitations thereof, I obviously won’t cram everything I’ve figured out into the books themselves (although I am getting more resigned to having to do an Osten Ard Companion someday, with Silmarillion-like tellings of all this background material.  A good project for my old age, shortly before all the dog hair I breathe and cat scratches I suffer from every day finally kill me).

If such a project takes place, the Osten Ard Companion would become the tenth or eleventh Osten Ard book, after The Burning Man, The Dragonbone Chair, Stone of Farewell, To Green Angel Tower (parts one and two), The Heart of What Was Lost, The Witchwood Crown, Empire of Grass, The Navigator’s Children, and The Shadow of Things to Come, the last three of which are expected sometime after the publication of The Witchwood Crown.

Williams’ original newsletter posting can be found here. You can subscribe to the newsletter at this link. Readers can speculate on who “so-and-so” is, and of what import the eight Gardenborn ships might play in the new series, and what role long-dead King Eahlstan has to play, on the Tad Williams Message Board, where there are already speculation threads for The Heart of What Was Lost and The Witchwood Crown.

Title of Fifth New Osten Ard Novel Announced

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he title of Tad Williams’ fifth new Osten Ard novel was made public this week on Facebook. The novel, which will be an interquel rather than a strict sequel, will be named The Shadow of Things to Come.

Williams, an international bestselling author, has hinted about this fifth novel in the past, but the title of the new book has remained under wraps until recently. In a previous Facebook posting, Williams wrote:

I would guess that the second short novel [The Shadow of Things to Come] will come out between The Witchwood Crown and Empire of Grass, but that’s a guess until we work out the schedule with publishers. The story at this stage is one of a number of possibilities, so I think I’ll talk about it next newsletter, or perhaps when actually I’m writing it and it’s jumping like the tree frogs around here whenever we get some rain. All the possibilities are pretty interesting, I have to say.

Tad Williams states that Simon Snowlock is less of a cynic than his wife, Miriamele. Possible plot point?

To Green Angel Tower (1993)

In all, five new books set in Williams’ eldritch world of Osten Ard will see worldwide publication over the next few years. Publishers in the US, UK, Germany, and the Netherlands have already been announced. The first new novel, The Heart of What Was Lost, was originally envisioned as a short story, but like many of Williams’ stories, expanded greatly in the telling. The original working title of this novel was The Heart of Regret, but that title has since been changed. The Heart of What Was Lost is set immediately after the events of To Green Angel Tower (published in 1993), and could be seen as a sequel novel to Williams’ original classic “Memory, Sorrow and Thorn” books:

The story [of The Heart of What Was Lost] follows [Duke] Isgrimnur [of Elvritshalla] as he leads an army against the Storm King’s defeated warriors, who are looting and killing as they fall back to Nakkiga, their mountain home in the far north.

The Heart of What Was Lost is expected to be published in January 2017, followed by The Witchwood Crown in late Winter 2017. This second new Osten Ard novel will continue the story some thirty years later. After The Witchwood Crown will come The Shadow of Things to Come, Empire of Grass, and The Navigator’s Children, though not necessarily in that order.

Williams has given several interviews over the last year regarding several of the new Osten Ard books. We will provide more details on OstenArd.com regarding these highly-anticipated new novels when possible; alternately, you can subscribe to Williams’ official newsletter.

 

Reader arranges, performs “Cathyn Dair, by Silversea”, MS&T song

“Memory, Sorrow and Thorn” reader Sebastien Barwinek has posted a YouTube video of his performance and arrangement of “Cathyn Dair, by Silversea”, a song Princess Miriamele sings in To Green Angel Tower, Book 3 of “Memory, Sorrow and Thorn”. Awesome!

Lyrics:

In Cathyn Dair there lived a maid
In Cathyn Dair, by Silversea,
The fairest girl was ever born
And I loved her and she loved me.
 
By Silversea the wind is cold
The grass is long, the stones are old
And hearts are bought, and love is sold
And time and time the same tale told
In cruel Cathyn Dair.
 
We met when autumn moon was high
In Cathyn Dair, by Silversea,
In silver dress and golden shoon
She danced and gave her smile to me.
 
When winter’s ice was on the roof
In Cathyn Dair. by Silversea,
We sang beside the fiery hearth
She smiled and gave her lips to me.
 
By Silversea the wind is cold
The grass is long, the stones are old
And hearts are bought, and love is sold
And time and time the same tale told
In cruel Cathyn Dair.
 
When spring was dreaming in the fields
In Cathyn Dair, by Siiversea,
In Mircha’s shrine where candles burned
She stood and pledged her troth to me.
 
When summer burned upon the hills
In Cathyn Dair, by Silversea,
The banns were posted in the town
But she came not to marry me.
 
By Silversea the wind is cold
The grass is long, the stones are old
And hearts are bought, and love is sold
And time and time the same tale told
In cruel Cathyn Dair.
 
When Autumn’s moon had come again
In Cathyn Dair, by Silversea,
I saw her dance in silver dress
The man she danced for was not me.
 
When winter showed its cruel claws
In Cathyn Dair, by Silversea,
I walked out from the city walls
No more will that place torment me.
 
By Silversea the wind is cold
The grass is long, the stones are old
And hearts are bought, and love is sold
And time and time the same tale told
In cruel Cathyn Dair …

 

Ein Interview mit Tad Williams, Teil 1

An Interview with Tad Williams, part 1” has been translated into German by OstenArd.com contributor Olaf K. Below is the translation of the first part of the interview, for German-speakers.

28. Februar 2015

Science-Fiction & Fantasy Autor Tad Williams hat mehr als 30 Millionen Bücher verkauft. Seine Bücher wurden in mehr als 25 Sprachen übersetzt. Sein erster High Fantasy Zyklus, „Die Chronik der großen Schwerter“, war ein internationaler Bestsellererfolg und hat Millionen von Fans. Nun kehrt Tad Williams zurück in die Welt der „Chronik der großen Schwerter“ mit einer neuen Reihe, der Fortsetzung „The Last King of Osten Ard (Der letzte König von Osten Ard)“. Eine neue Reihe, die ihn wahrscheinlich wieder zurück auf die Bestsellerlisten katapultieren wird.

Wir sprachen mit Williams kurz nachdem seine Ehefrau und Managerin Deborah Beale verkündet hat, dass er die Rohfassung des ersten Romans der neuen Reihe, „The Witchwood Crown (Die Hexenholz Krone)“ abgeschlossen hat.  In diesem exklusiven Interview stellen wir Williams zahlreiche  Fragen über seine Arbeitsweise beim Entwerfen von ganzen Welten, etwaige Pläne für zukünftige Lesereisen, wie es ist für ihn in eine Welt zurück zu kehren, die er lange nicht betreten hatte, und seine Pläne für zukünftige „Bobby Dollar“ Romane, die er abwechselnd zwischen den Osten Ard Büchern schreiben möchte.

Teil Eins des Interviews direkt im Anschluss. Weitere Teile werden folgen.

OstenArd.com: Vielen Dank, Tad, dass Du diesem Interview zugestimmt hast! Du hast gesagt, dass du die neuen Osten Ard Bücher parallel zu weiteren Bobby Dollar Geschichten schreiben wirst. Obwohl die Geschichten sehr unterschiedlich sind, hast du Probleme damit die verschiedenen Stimmern der Charaktere auseinander zu halten? Oder sind die Unterschiede so groß, dass das nicht passiert?

Tad Williams: Eines der schönsten Dinge an Bobby Dollar ist, dass ich die Geschichten in der ersten Person Singular erzähle. Wenn ich einmal anfange in dieser Stimme zu schreiben, passiert alles sehr natürlich (nicht zuletzt deshalb weil er fast genauso spricht wie ich selbst.) Der Großteil der neuen Osten Ard Bücher wird in der dritten Person erzählt (obwohl es einige Briefabschnitte gibt, die in der ersten Person erzählt sind), daher sind sie sehr verschieden. Nicht zu vergessen, dass Bobby Dollar sehr modern erzählt wird. Wenn ich aber Fantasy schreib, vor allem vor-industrielle Fantasy muss ich den richtigen Ton und das richtige Vokabular finden, dass zu der Geschichte passt. Aber für den „Letzten König“ muss ich etwas finden, dass angemessen ist und zu dem passt, was ich in den ersten Büchern verwendet habe.

OstenArd.com: Du hast viele ergebene Leser, die dich gerne persönlich treffen würden. Plant dein Verleger eine Lesereise vor/während/nach der Veröffentlichung der „Hexenholz Krone“, und falls ja, welche Orte würdest du besuchen? Gibt es Märkte, die du einfach besuchen musst?

Tad Williams: Ich hoffe sehr, und ich würde es sehr gerne tun. Verleger schicken Autoren nicht mehr so oft auf Lesereise, weil der Niedergang des stationären Buchhandels und die Auswirkungen der Finanzkrise seit 2006 dies nicht mehr profitabel machen. Aber ich hoffe sehr, dass die neuen Bücher auch für meinen amerikanischen Verleger ein Ereignis sind, dass eine Lesereise rechtfertigt. Was andere Länder angeht, muss man von Fall zu Fall sehen, was sich ergibt, aber ich bin ziemlich sicher, dass mich mein deutscher Verleger auf Lesereise schicken wird.
OstenArd.com: Sowohl Christopher Paolini als auch George R.R. Martin haben bekundet, dass deine Reihe sie beeinflusst hat, ihre Bücher zu schreiben. Gibt es Pläne die beiden nach einem „Blurb“, einem Werbezitat für das Buchcover von „Die  Hexenholz Krone“ zu fragen?

Tad Williams' novels have long been available as audiobooks in Germany. Now "The Last King of Osten Ard" will get an English-language audiobook.

Tad Williams: Christopher würde es wahrscheinlich sofort tun, da sehe ich kein Problem. Aber es ist immer schwierig George für so etwas zu kriegen, da er immer so viele Anfragen an, die seine Aufmerksamkeit einfordern. Er muss tausend Dingen mehr seine Aufmerksamkeit schenken, als ich dies tun muss, und es gibt noch viele, viele Dinge mehr, die seine Aufmerksamkeit erreichen wollen.

OstenArd.com: Im „Drachenbeinthron“ hast du eine riesengroße Welt erschaffen mit mehr als 100 Städten, Ortschaften und Dörfern, die sich über einen ganzen Kontinent erstrecken. Dann hast du Sprachen, Kulturen und Völker geschaffen, die diese Orte bevölkern. Mit den weiteren Büchern wuchs Osten Ard immer weiter. Planst du nun einige Bereiche jenseits der alten Karten zu erkunden? Die „weißen Flecken“ an den Rändern der Karte? Falls ja, wie wird sich das zusammenfügen mit den bereits bekannten Strukturen und den alten Karten?

Tad Williams: Unser Wissen über OstenArd wird ganz gewiss erweitert werden, aber ich habe immer noch eine Menge Material aus den Originalbüchern, dass ich verdeutlichen und erweitern kann, ohne dass ich über die Grenzen der Wüste von Nascadu oder die Troll- bzw. Norn Fjelle hinausgehen muss. Trotzdem werden wir ein wenig mehr über das Gesamtkonzept der Welt lernen und ein paar Orte sehen, die wir in den ersten Büchern nicht gesehen haben. Soviel ist sicher!

Map of Osten Ard, showing the more than a dozen nations which make up the continent.

OstenArd.com: Während der Handlung der „Chronik der großen Schwerter“ konnten die Leser das Reich erkunden und von dampfenden Dschungeln bis hin zu gefrorener Tundra (einer ganzen Menge davon!) viele Orte besuchen.  Gibt es Pläne Bereiche von Osten Ard wieder zu besuchen, die in der klassischen Reihe nicht so viel Aufmerksamkeit erhalten haben? Nascadu? Die Lande der Hyrka? Die Inseln der Westerlinge? Harcha und Naraxi? Ijsgard? Der verlorene Garten?

Tad Williams: Wir werden eine Menge sehen von den Norn Fjellen und Nakkiga. Ebenfalls werden wir viel vom Aldheorte, den Thrithingen und Nabban sehen. Was andere, bislang unbesuchte Orte angeht, bin ich noch nicht sicher, weil das wird davon abhängen wohin das zweite und der Anfang des dritten Buches einige Charaktere führen wird, deren Schritte ich noch nicht komplett durchgeplant habe (Nebenbei, das amüsant-dumme Rechtschreibprogramm meines E-mail Programms möchte immer „Thrithings“ in „Thrashings“ ändern.) Und wir werden mehr über den Verlorenen Garten hören und lernen, eine GANZE Menge über die frühe Geschichte der Nornen und Sithi, sowohl in Osten Ard als auch vorher. Und obwohl ich nicht sagen kann, dass wir den Verlorenen Garten besuchen werden, denn er ist schließen verloren, so werden wir auf alle Fälle mehr über ihn erfahren.

Fortsetzung folgt…