The Notorious Notebook – Du Sverdinvyrd

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esterday, 30 years after The Dragonbone Chair was published I posted a few pages of the notebook that proceeded the book. Tad gave me the notebook this Summer when I visited him and Deborah for a few days and it was a true joy to browse through it, read here and there, look at long lists of names of language creation, timelines and the like. To me it was a true treasure and I excitedly read it for hours and hours … then I talked to friends about it and they were excited, too and a bit jealous, too so I asked if I could take pics and share them and Tad in his unlimited generosity agreed.

So this is what will happen here: in loose and unregular sequence the content of the notebook will be posted on this site. I’ll tweet (@ylvs) about new posts under the header  #TheNotoriousNotebook and if you want to be sure to miss nothing there is an email alert thingy somewhere on this  site.

And now without further ado, here is the rest of the notes about the three swords:

NissesENissesF

NissesG

I love how the last verse is seemingly hastily scribbled down and Tad not even bothered to write out the last line. I love that Du Svardenvyrd started out as Du Sverdinvyrd and how all the info from these pages made into MS&T yet in a very different form.

This is the most awesome and interesting part of the notebook as it is “story”, but for proper MS&T geeks like the runners of this site there is more rewarding stuff to come.

It was 30 years ago today …

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ot that Sgt Pepper taught the band to play but that
THE DRAGONBONE CHAIR by Tad Williams hit the book stores for the very first time.
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To adequately celebrate I’d like to start sharing a true treasure I was given when visiting Tad and Deborah this Summer:

Notebook Cover

This is Tad’s original notebook from the late 80’s containing everything he jotted down while writing Memory, Sorrow and Thorn! Ostenard.com has the privilege to share its content with our fellow Taddicts  – thank you so very much for this permission, Tad!

Let’s start with my favourite find. This is a bit of continous text on the making of the three swords. Enjoy!

NissesANissesBNissesC

To be continued very soon …

The 30th Anniversary of the Classic “Memory, Sorrow, & Thorn” Novels

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his month marks the 30th anniversary of The Dragonbone Chair, first volume in the immensely influential “Memory, Sorrow, and Thorn” fantasy series written by Tad Williams. The first volume was published on October 25th, 1988, and it soon became a national bestseller, inspiring fantasy authors George R. R. Martin, Patrick Rothfuss, and Christopher Paolini to write their own hugely successful series, and in the process changing the landscape of fantasy fiction.

The Dragonbone Chair, book 1 of Memory Sorrow and Thorn

Cover of The Dragonbone Chair, the first volume of “Memory, Sorrow and Thorn”.

Writing for Barnes and Noble, Aidan Moher states, “Williams’ trilogy is quietly one of the most influential fantasies of the past 30 years, and is, in large part, responsible for the resurgence in the mainstream popularity of fantasy via HBO’s Game of Thrones, the television adaptation of  Martin’s hugely popular A Song of Ice and Fire novels—after all, Martin credits Williams’ books as a primary inspiration.

“On the surface, Memory, Sorrow and Thorn sounds like a paint-by-numbers secondary world fantasy: there’s an ancient evil threatening the medieval-flavored land of Osten Ard, a boy with a mysterious past, a scrappy princess, an evil prince, a dying king, and more magic swords, dragons, elves and dwarfs than you can shake a wand at (even if they’re referred to by different names.) It never eschews these tropes—though at the time they were less tiresome, as fantasy-readers reveled in the post-Brooks/Donaldson revitalization of secondary world fantasy. Instead, Williams’ trilogy feels like a surgically-precise dissection of those tropes.”

The Dragonbone Chair was followed by sequels Stone of Farewell (1990) and To Green Angel Tower (1993), and nearly three decades later by The Heart of What Was Lost (2017), The Witchwood Crown (2017), and the forthcoming Empire of Grass, The Navigator’s Children, The Shadow of Things to Come, as well as a few stand-alone stories, each set in Williams’ world of Osten Ard. Williams will be honored as the Writer Guest of Honor at the 2019 World Fantasy Convention.

sleeping_queen_by_kiraathu_webAs a way of celebrating the 30th anniversary of this seminal series, artist Jessica Steinke has created a beautiful illustration from The Witchwood Crown, showing the sleeping Queen of the Sithi, Likimeya y-Briseyu no’e-Sa’onserei. (The full resolution version of the piece is available on DeviantArt).

Steinke writes, “Since I read MS&T 20 years ago for the first time, the aesthetic concept of the Sithi have been a constant factor in my art and a most rewarding motiv. So I wanted to contribute something for the 30th anniversary of Osten Ard that could be shared with all fans out there. I’m looking forward to all future Osten Ard tales and many more Sithi to sketch.”

We at Treacherous Paths are honored to showcase Steinke’s beautiful art work as the fantasy world celebrates 30 years of Williams’ Osten Ard novels.

 

 

 

Tad Williams, George R.R. Martin, Deborah Beale, Nina Kiriki Hoffman, others appear at WorldCon 2018

Today legendary speculative fiction authors Tad Williams (“Memory, Sorrow and Thorn”), George R. R. Martin (“A Song of Ice and Fire”), Deborah Beale (The Dragons of Ordinary Farm), Nina Kiriki Hoffman (A Fistful of Sky), Peter S. Beagle (The Last Unicorn), and many others appeared at WorldCon 2018 in San Jose, California. Here are some photos of the event, some taken at the Tachyon Publications kiosk:

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Deborah Beale, Nina Kiriki Hoffman, Tad Williams.

 

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George R. R. Martin, Tad Williams. Photo credit: Deborah Beale.

 

tad williams and peter s beagle

Tad Williams, Peter S. Beagle. Photo credit: Deborah Beale.

The Witchwood Crown nominated for Best Fantasy Novel by Goodreads

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he Witchwood Crown, Tad Williams’ latest Osten Ard novel, has been nominated by Goodreads, in the category “Best Fantasy novel of 2017”. Other nominees include J.K. Rowlings’ Fantastic Beasts and Where to Find Them, Neil Gaiman’s Norse Mythology, and Robin Hobb’s Assassin’s Fate.

Williams’ return to the world of Osten Ard after a more than twenty-year gap has been lauded by critics, with Den of Geek calling the novel “a rich world populated with characters that compliment each other,” while SFFWorld.com states the novel is “a weighty, emotional, and engrossing launch” and is “highly recommended”. Barnes and Noble calls it a “triumphant return to a beloved Fantasy world”. Even Kirkus Reviews, no fans of Williams’ previous works, calls The Witchwood Crown “stunning” and “virtually un-put-down-able… an instant fantasy classic”.

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The huge volume, more than 700 pages in length, was written from 2014 to 2017. Set 34 years after the end of the last Osten Ard novel, To Green Angel Tower, The Witchwood Crown continues the story, as Simon and Miriamele now rule the land over which they successfully won a war more than three decades ago. Although they have rebuilt the kingdom of Osten Ard, their lives have been shattered by personal loss. And now the shadow of a threat moves once more, as their old enemies, the immortal Norns, stir again in the far north.

The Goodreads Choice Awards is a major book award decided by readers. Goodreads members may vote for their favorites. Voting for the first round will end on November 6th.

The Witchwood Crown, Continuity, and Chuck Cunningham

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his coming week marks the long-awaited return of bestselling author Tad Williams to his fictional world of Osten Ard. The Witchwood Crown, the first volume of the ominously-named “The Last King of Osten Ard”, will finally see release on Tuesday next week, after a year of delays and over 20 years of readers’ requests for this book.

The Witchwood CrownI already have my copy, of course. It arrived in the mail just last week, courtesy of Joshua Starr over at DAW Books (thanks Josh!). It is actually the fourth version of the novel I’ve seen, for I previously read and reviewed three earlier versions of the book: an early, very rough manuscript which Tad Williams kindly sent me in May 2015; a heavily-revised manuscript from June 2016; and an Advance Reader Copy (ARC) in January 2017.

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Beautiful new Osten Ard maps!

I received these early versions of the book because it was my rare privilege to be asked by Tad to be part of the team reviewing The Witchwood Crown manuscript for mistakes, a process I very much enjoyed because I absolutely loved the previous novels ever since I first read the first Osten Ard novel, The Dragonbone Chair, in November 1988. I also later helped as a consultant for the new Witchwood Crown maps. A pictorial map I drew back in 1992 served as the basis for the beautiful new maps created by mapmaker Isaac Stewart. And near the end of the process, I also worked on the Appendix in the back of the book. That itself was an adventure. I also served on the team that reviewed the shorter Osten Ard novel The Heart of What Was Lost in 2016.

I was quite honored to serve as a beta reader; I also feel I did a good job pointing out continuity errors in the manuscripts. The truth is, I had plenty of practice: for 40 years, I was an avid television-watcher, and I grew up in an era (the 1970s and 1980s) when American television writers weren’t always so careful about the continuity of their worlds.

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Chuck Cunningham disappeared without Joanie or Richie ever noticing their brother was missing.

As a television viewer, it always bothered me immensely, for example, when on The Cosby Show Cliff and Claire Huxtable claimed they had five children when previously they had stated they only had four, and when oldest child Chuck Cunningham suddenly disappeared from Happy Days without his family, or anyone else, ever noticing he was gone. “Why didn’t someone on the show say something?” I wondered. “How hard would it have been to mention Chuck was away at school?” As I grew older, I realized that most television writers of that era didn’t care about continuity. But my past irritations about the limitations of fiction helped me become a better continuity-checker, I think. You won’t find any examples of Chuck Cunningham Syndrome in The Witchwood Crown, I promise.

The Witchwood Crown is large, say those who have held it, though not quite as heavy as a small child. The 721-page volume now sits proudly on my shelf, its onyx cover a stark contrast to the gleaming white covers of the earlier novels in the Osten Ard saga: The aforementioned The Dragonbone Chair, Stone of Farewell (1990), and of course To Green Angel Tower (1993), which holds the distinction of being one of the longest novels ever written.

In 2016, in the throes of writing two novels at the same time, Tad wrote:

Been a really interesting last couple of days for me, work-wise, although nobody would have known it to look at me, since I spent most of it on my back, staring into space or with my eyes closed. Thank God Deb and the kids know that I’m actually doing something when I look like that, and I am not dead so nobody has to call the EMTs.

I have about eight or nine plot/history/worldbuilding issues that I have to commit to before I finish the rewrites on the first new Osten Ard novels (one short and one long), but all eight or nine or eleven or whatever are such broad and complex and interrelated clouds of ideas that I have to focus at a much more granular level than I did earlier in the process, nailing things down in their final forms instead of “I’ll figure that out later”. I have to know how all the details actually work because these nexes or point-clouds I’m considering all affect each other and the whole rest of the story, plus the invented world history behind the whole thing.

For regular Tad readers, when I say that I have to work out the entire history of the Sithi and Norn people from back in the Garden up to the present moment of the new story — some fifteen thousand years’ worth, probably — and integrate it with not only what is going to happen in the new books (The Witchwood Crown and The Heart of What Was Lost, which will come first) but of course everything that happened in a million words of MS&T, you may understand why although I’m lying on my back, I’m also clenching my teeth.

15,000 years of history, Tad wrote. This is an interesting number, for several reasons. The Sithi and Norns, Williams’ near-immortal characters, live for thousands of years. Clues peppered throughout the text of the original Osten Ard novels indicate that the main Sithi characters, Jiriki and Aditu, are less than 500 years old: they are youngsters among the Gardenborn. And yet their great-grandmother, Queen Amerasu, was born on one of the great ships which brought the Gardenborn to Osten Ard. And Amerasu’s great-grandmother, Utuk’ku, is still alive in The Witchwood Crown.

Williams previously stated that Queen Utuk’ku Seyt-Hamakha was around 10,000 years old during The Dragonbone Chair (for those doing the math, this would make the Norn queen roughly 10,037 in The Witchwood Crown). Almost nothing is known of a time prior to Utuk’ku’s rule of the Gardenborn in Venyha Do’sae, the immortals’ lamented Lost Garden, outside of a short, strange passage in The Heart of What Was Lost, which states:

“When Hamakho was dying,” the magister said, “he drove his great sword Grayflame into the stone threshold of the Gatherer’s Temple in the very heart of the Garden. But when the time came to board the ships, no one could pull Hamakho’s blade from the threshold, so it was left behind, another sacrifice to the Unbeing that claimed our homeland. But my forefather Yaaro-Mon prised this gem from the sword’s pommel […] The carving depicts great Tzo, our beloved city on the shores of the Dreaming Sea, lost with all the rest to Unbeing when the Garden fell.”

The appendix of The Heart of What Was Lost lists Hamakho Wormslayer as the “founder of the Hamakha Clan and ancestor of Queen Utuk’ku”. It is clear that Tad Williams is not just writing a sequel to the original Osten Ard books, he is carefully examining the roots of the Gardenborn, and expanding his mythology. It is possible that by the end of the new series, the mythopoeia of Osten Ard will cover the 15,000 years Williams mentions.

He also writes:

And of course, as everybody knew was going to happen, I’m already troubling those few, kind, long-time readers who are giving me feedback on the early drafts, because nobody is going to agree with me on every explanation of something that already existed, or new developments for my old Osten Ardians. These are characters that have been in people’s heads for thirty years in some cases, so anything unexpected is going to feel like a violation.

As one of those draft-readers, it is gratifying to see the changes Tad made to The Witchwood Crown (and The Heart of What Was Lost) based on our feedback: storylines revamped, lands renamed, bird species revised, characters renamed, and histories re-examined. Williams is an author who truly cares about preserving his old mythology while still expanding his world. He says:

[E]ven if one comes up with solutions everyone likes in these situations, there’s always the struggle to not let the cracks show. I remember reading the follow-ups to Dan Simmons’ Hyperion and (maybe because I’m another writer) feeling pretty certain that I could see places in the later volumes where he was trying to explain discrepancies between what he was doing now and what he’d done earlier; in fact, I felt pretty sure he was trying to retcon a lot of stuff that he hadn’t expected to ever touch again. (“Retcon” means retroactive continuity — it’s when you explain something later in a way that might not have been anybody’s original intention. A good example of this is how they keep trying to come up with believable reasons why nobody recognizes Superman when he puts on a pair of glasses and calls himself Clark Kent.)

Anyway, the What in this case (trying to retcon my own work in a believable way) is not as interesting to me right now as the How, because I’ve found that the only way to work with all these issues at speed (since I can’t get on with the rest of my work without solving them) is simply to grind away at it. That means clearing my mind as much as that cluttered mess can be cleared, then pursuing all different configurations and possibilities through as many ramifications as possible, examining them, reworking them, refitting with different combinations and emphases, all in detail. Then trying another set of possibilities, and another, and so on, over and over, through each nexus-point where plot and history come together. And doing that is very much like trying to meditate, at least for me. Trying to make a clear space. Trying to follow a single idea (however ramified) through until I’ve exhausted its possibilities, without being distracted.

So Tad Williams is aware of the damage an author can cause by expanding a mythos in writing sequels; while he mentions Dan Simmons, perhaps the most obvious example of sequels causing damage to a beloved world is George Lucas’ ill-advised Star Wars prequel abominations, which introduced Midi-chlorians and talking rabbits into a once-beloved franchise. But it is my opinion, after reading four different versions of The Witchwood Crown, two versions of The Heart of What Was Lost, and having read the previous Osten Ard novels The Dragonbone Chair, Stone of Farewell, To Green Angel Tower, and The Burning Man countless times, that Tad Williams has been successful in expanding Osten Ard without damaging the existing mythos, in a way that George Lucas wasn’t able to do with his own sequels.

After 24 years of readers’ expectations, Williams had a Sisyphean challenge in front of him: how could he write for new readers, while still trying to please existing readers who had spent over two decades wondering what had happened to the characters at the end of the story? Not everyone will be pleased by the answers the author provides, some of which may prove very unpopular, but at least there are no flat-out contradictions, such as George Lucas’ strange decision in Revenge of the Sith to kill off Padme just after Leia’s birth when previously Leia said she could remember her mother.

Ultimately, I believe The Witchwood Crown will please most readers. I’m certainly pleased by the result, and I’m already looking forward to reading the next volume, Empire of Grass.

SFX Magazine reviews ‘The Witchwood Crown’, praises plot and characters

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ritish book reviewer Bridie Roman reviewed Tad Williams’ latest Osten Ard novel, The Witchwood Crown, in SFX magazine this week, praising both the plot and the characters of the new series. Roman writes that the novel, sixth in the Osten Ard saga, has “a compelling plot filled with characters you genuinely care for.”

The Witchwood Crown, which will be released on June 27th, is Williams’ triumphant return to the world of Osten Ard, after a 23-year absence; it will be the first volume of a three-book series called “The Last King of Osten Ard”. The novel takes place 33 years after the conclusion of Williams’ New York Times bestselling novel To Green Angel Tower. Williams says he avoided writing further novels in Osten Ard because after 3,000 pages, he felt there were no more stories to tell in that world:

I said for years that I wouldn’t write a sequel to anything or even re-visit a world unless I had a story first, a story that cried out to be written. And for years Osten Ard was in that category, although I had thought a bit about the [Chronicle in Stone] project. Then, when I sat down one time to list off for Deborah (my wife and business partner) all the reasons I had no more stories about Simon and Miriamele and Binabik and the rest, I realized that I had left most of the main characters still very much in the bloom of their youth, and that after decades of life and growing responsibility—which I had undergone myself since I wrote it—they must all look at the world very differently. That set me to thinking, and within one night the first rudiments of the story for “The Last King of Osten Ard” (the title for the whole series) had begun to take real shape. So every moment I was aging, and moving from one country to another, and becoming a parent, and so on, I was actually creating a plot for new Osten Ard books without realizing it.

thewitchwoodcrownBridie Roman states in the review of The Witchwood Crown that Tad Williams “has a fantastic way of writing characters so that they are both utterly vexing and entirely enjoyable at the same time.” Roman specifically singles out the new half-Norn character, Nezeru, as one of the stand-out new characters, calling the half-blood warrior the embodiment of “the flawed character archetype of which Williams was very much a genre pioneer.” SFX gives The Witchwood Crown 4/5 stars.

The Witchwood Crown will be followed by Empire of Grass and The Navigator’s Children, along with a standalone novel, also set in Osten Ard but chronicling a period 500 years earlier, tentatively called The Shadow of Things to Come. This will bring the number of Osten Ard books to nine (previous books in the saga included The Dragonbone Chair, Stone of Farewell, To Green Angel Tower, The Burning Man novella, and The Heart of What Was Lost). When complete, the Osten Ard saga is likely to surpass 6,000 pages and 2,000,000 words.