Realmslore from Elaine Cunningham

The text contained on this page has been written by Elaine Cunningham and appeared on the Candlekeep Forum, and has been collated by The Sage. This is also available as a PDF.

-- Jul 2002
When time permits, I'm going to have to take a long, hard look at third edition moonblade rules. At present, here's my thoughts on the matter.

These swords were designed so that each would have a unique set of powers, a set corresponding to the composite strengths of a particular elven family, created in response to the challenges those elves faced. The fitness of a family to rule was therefore judged not only by the ability of a long line of elves to wield a moonblade, but by the powers with with they imbued their hereditary sword. The moonblades present a test not only of strength and courage, but also of resourcefulness and creative problem solving. Over time, a pattern emerges, and a sword acquires a skill set that is almost
akin to a personality. Arilyn's sword comes from a long line of solitary adventurers. It is well suited to her needs and nature, but it is not a sword that would qualify its wielder for the elven throne.

To some extent, a compiled list of "acceptible powers" defeats the purpose of the moonblades. These swords have histories and, occasionally, destinies, that are entwined with the families who wielded them. They should be much more than a collection of randomly acquired powers.

But I understand that these tables and charts are helpful to gamers and DMs who wish to incorporate moonblades into their campaigns. This is one of those example of how different novels and games can be. Not everything is readily translated from one medium to another. Moonblades seem to be one of those things. People in both creative endeavors -- books and games -- do their best to reconcile that which cannot be completely reconciled, and sometimes, that's as good as it gets.

My personal preference would be for moonblades to have no part in the game materials. They were created for a specific purpose, one that is clouded and distorted by their game use. But it's a shared world, and a flexibility is a necessary mindset. On the one hand, I sometimes wish that people who want a magic sword would create their own; on the other hand, I'm pleased that this concept caught so many people's imaginations.

That said, I'd intended to write a history of the moonblades, a one-stop reference for readers and gamers who are interested in these artifacts. At present, I think I'd rather move on and create something new.

First, as has been pointed out, Moonblades were created in the novel
Elfshadow. They were later translated -- badly -- to accommodate those who wished to employ them in their RPG campaigns. Please note that I am not complaining about the quality of the game designers' work, but rather pointing out that translation from one medium to another does not always capture the original intent. Books and games are very different storytelling forms, just as books and movies are different. Some things translate well. Others don't. Moonblades, IMO, are among the latter.

Each moonblade has a unique history and a unique set of powers, which
developed over centuries in response to its wielders' strengths and
circumstances. Because they are hereditary, it stands to reason that they will develop a SET of powers, rather than a random selection. It's entirely possible that these powers could be related in complicated ways: Power B corresponds to Power A, and C corresponds to B, and so on, but F and A work well together only under specific circumstances, and the ability to wield both G and A requires an unusual combination of skills. After a while, moonblades became almost impossible to wield. Whether or not an heir can claim a sword has less to do with his overall "worthiness" than his potential to master the disparate powers of that particular sword. Heirs are
chosen not merely because they are the next of kin, but because they are likely to be a good match. They will then be rigorously trained in the skills needed to claim the blade. It's not a casual or a random process.

There are circumstances, however, in which an elf claims a sword without this sort of guidance. Arilyn is one example. She was only 15 when her mother died, and she knew next to nothing about the moonblade. None of the elves expected her to claim it, and when she did, none expected her to survive -- and with good reason. No half-elf had ever wielded a moonblade. Those who have read Arilyn's stories realize that the purpose behind this bit of worldbuilding has more to do with character than plot. Arilyn has been accepted as elven by one of the most potent symbols known to the People, yet she is rejected by the elves in general and her mother's family
in particular. Her total identification with what the sword is shown by her choice of last name: Moonblade. It's her none-too-subtle way of proclaiming,"I'm an ELF, damn it!"

Elaith Craulnober is another example of how moonblades are NOT supposed to work. Most of his family was wiped out in a raid when he was a baby. An aged grandfather was his only link to family lore, and this elf was not the blade's wielder. The sword was held in trust for Elaith because he was the last of his line. In such cases, if the only surviving member of a family is not well matched to the blade, the sword's task is considered fulfilled and it enters dormancy. But Elaith is not without arrogance -- a common failing among the People -- and although he knew the history and powers of the Craulnober blade, he was certain he was equal to the task. There was no one
to tell him otherwise.

In other words, the sword and the wielder have to be well matched. The more wielders a sword has, the lower the probability of finding another wielder who can handle ALL the sword's powers -- not to mention all the permutations thereof. Such nuances are entirely lost when you say, "Okay, this PC gets a moonblade. Roll to select powers from a table." This is completely backwards from the original intent, but imagine the tedium of starting with an existing moonblade and rolling up one character after anyone until you come up one who's compatible to all the sword's powers. ::shudders::

Second, the moonblades' purpose was to select a ruling family for Evermeet, NOT to find a single leader to unify all elves. Amlaruil Moonflower is NOT the ruler of all elves, but of Evermeet. Many other groups of elves regard her with respect, but not all consider her "their" ruling monarch. To acknowledge royalty is not the same as declaring fealty. The lore is very clear on this, going back to the old gray boxed set.

Third, the moonblades have accomplished the task for which they were
created: they chose a royal family. The Moonflowers are the ruling family of Evermeet. Game over. Period.

A few moonblades still remain active. These will be used in the service of the People until their wielders see fit to lay them down. Some of them have very interesting powers, and many interesting stories and campaign hooks could be created around these swords, but none of these moonblades will ever develop into a new "king sword." Moonblades are relicts of a past time. They are relevant only for the service they and their wielders are capable of providing the People. A few swords might have developed tasks of their own, tasks that have not yet been completed. The Craulnober blade is one such sword.

Finally, there is no single "chosen" ruler of the moonblades. There is a royal family. That was the whole idea behind the moonblades: out of the original 100 moonblades, several swords would develop sets of powers that would both aid and define a ruling family. Eventually, one such family would prove themselves stronger than all others, both in power and in their ability to provide a long-standing, unbroken succession of worthy heirs.

Even if there was a "chosen," (someone has been watching Star Wars Episode I a few times too many... ) Arilyn wouldn't be it. (Her midoclorian count is too low, for one thing...) Ahem. Sorry -- back to the point. That would be illogical, both in terms of
Forgotten Realms lore and her established character. A half-elf ruler of all elves would be a hard sell; in fact, I suspect that the KKK would be about as likely to elect a Jewish woman of African-American descent as their Grand Wizard as the elves would be to rally behind a half-breed. And nothing about Arilyn's portrayal has suggested this eventuality. Arilyn is essentially a loner. She's heir to an offshoot of the Moonflower family, a line of solitary adventurers and other slightly out-of-step elves. There is nothing in her personality, abilities, or stories to suggest that she's a potential
ruler. The fact that Elaith has decided to regard her as his princess says more about him than it does her: he might have exiled himself from Evermeet, but he was once captain of the royal guard. His deep-seated loyalty to the royal family has never changed; on some level, focusing that loyalty on a slightly disreputable half-breed is consistent with his own self-image. Perhaps Arilyn is the closest to royalty to which he feels himself worthy. A complicated elf, is our Elaith.

Just a few thoughts on the subject.

-- Dec 2003
Elaith Craulnober. No doubts there. I even have a story in mind. An incident is referred to in the book Evermeet in which the princess Amnestria leaves for the mainland to stop Elaith, who has hooked up with a band of evil human adventurers, from raiding an ancient elven burial ground. That's when Amnestria meets Bran Skorlsun, Arilyn's father. Lots of action, a couple of double crosses, elf lore, a love triangle, some heartbreak, a frenzy of dark despair--the teeny little Julie Andrews who lives in the back of my head just burst into a chorus of "These are a few of my favorite things."

That's discussed very frankly in EVERMEET. A furious Amnestria is packing to go to the mainland and confront Elaith, who left Evermeet and her the day he claimed the Craulnober blade. Remember Lamrual pointing out that her belt was notched looser than usual, and asking her "what manner of leave-taking" passed between her and Elaith? At the time, Amestria was already pregnant. She and Elaith were betrothed, and the child was conceived when Elaith still thought of himself as an elven noble, captain of the king's guard.

The next part of their story has never been told. Amnestria went to the mainland. She sided with Bran Skorlsun, a human ranger and Harper, to keep Elaith from despoiling an ancient elven burial site. Amnestria was willing to give Elaith another shot, but the elf considered himself unworthy of an Evermeet princess and very pointedly rebuffed her. Shortly thereafter, she fell in love the Bran, who, before this episode, considered Elaith to be a
friend. Elaith viewed this as a double betrayal, even though -- or perhaps, especially because -- he himself chose a path of alientation from his elven past.

Elaith was never to learn of Amnestria's pregnancy. Only a handful of peopleknow this well-kept secret: Bran, Prince Lamruil, Khelben and Laerel (who were friends of Amnestria and Bran during their early married life), and now Danilo. As the epilogue suggested, Khelben repressed the manuscript that became the novel EVERMEET. People in our Prime Material Plane can read it, but rest assured that this book is not on the shelves of any library in the Realms.

09 Feb 2004
Here's the story, adapted from the FAQ page of my website:

In writing Thornhold, my mandate was to create continuing shared-author characters -- Bronwyn and Ebenezer Stoneshaft -- and introduce a conflict/conspiracy that would be continued in other novels and game products. The intention was that this was to be a PIVOT novel that would introduce changes to the Harper organization, not a conclusion to the series. Unfortunately, the editorial direction changed while the book was being written. More unfortunately still, no one thought to inform me. Thus, Thornhold was left with a head-scratching conclusion and a lot of loose threads. The ending would have been fine, if the book included a preview for the next story following it. As things stand, however, the story's ending is definitely perplexing. Am I happy about this? Well, no. But on the positive side, I had a great time with the Ebenezer and the dwarves, and the experience really impressed upon me the need to write self-contained stories, even within a series.

I would love to write a follow-up to the story entitled DARKHOLD, which would delve into Zhentarim politics, the full story of the Holy Order of the Knights of Samular, and Khelben Arunsun's dark secrets. Damn -- that litany just set off the little Julie Andrews who lives in the back of my and occasionally bursts out singing "These are a few of my favorite things..." Pivotal to this sort, of course, would be the dwarves' struggle to hold Thornhold, and the young paladin's quest to redeem his reputation and, in the process, redefine his faith.

10 Feb 2004
"Completely solo" brings to mind an episode of M*A*S*H in which Hawkeye suffered a concusion in a jeep crash. He kept himself awake by talking non-stop to a Korean family, who had no clue what he was saying. By the end of the episode, I almost envied them.

In other words, it's very difficult to pull off an intense focus on a single character. I suspect that Elfsong came as close to a solo novel for Danilo as we're going to get.

I've been lobbying for another book in the Songs & Swords series for... I don't know -- years, but the folks at WotC had other ideas. It would probably be even more difficult to get the go-ahead for a project including just ONE of the S&S characters.

13 Feb 2004
Pacing helps to set the tone. Toward the end of the story, I usually go to shorter scenes, quicker switches between characters, and narrative that leans more to action than description. The pacing in Daughter of the Drow was a deliberate choice. As for timing, the manuscript was turned in on deadline and within the required word count. (Ah, those were the days...)

13 Feb 2004
First, thanks for the kind words. Organizing material for Evermeet was quite a project. My goal was to review every significant reference to elven lore in the Realms, and to synthesize as much of it as possible into story form. There are many ways this could be done, but I decided to organize the material around three concepts: 1) the book as a collection of short stories gathered by a human bard who wished to pay tribute to his half-elven love; 2) the narrator's view that the current-day events -- the invasion of Evermeet -- was a result of elven attitudes and decisions; and 3) a history of the Moonflower family, with Amlaruil as the focal character. These somewhat disparate parts were unified by the underlying, and often unseen, perspective of the fictional "author." Danilo had an axe to grind. He selected the stories and shaped the narrative accordingly.

It was an interesting experiment, but in the process I learned something rather distressing: Danilo is a better writer than I am.

13 Feb 2004
Sheer coincidence, or, at the most, serendipity. I borrowed the character from Ed Greenwood, who created and named Elaith long before he knew my name. Do I relate to Elaith? None of my characters are autobiographical, but let's put it this way: I understand Elaith better than I'd like to.

14 Feb 2004
I'm no expert on copyright law, but I suspect that incorporating Tolkien's invented Elvish languages into the Realms would constitute an infringement. (Any lawyers or Tolkien language experts here?)

The bald truth is that FR writers usually make up "Elvish" words on the spot. ("Hmmm.... Yeah, this sounds like something an elf might say...") You can try to make the invented word look and sound consistent with previous invented words, but there is no real Elvish language resource for FR writers. Sure, there are "dictioneries" here and there, but these are mostly compiliations of randomly invented words from previous books and game products, plus some newly made-up stuff. Language requires grammar, syntax, vocabulary, logic and cultural context. Collections of cool-sounding words don't even come close.

Middle Earth was created by a linguist, and one of its most notable characteristics is the elaborate invented languages. Forgotten Realms was created by an extremely well-read librarian with a non-stop imagination and a puckish sense of humor. Considering all that the Realms has to offer, I've seldom felt the lack of formal linguistic systems.

For elven names, I do one of three things: 1) use nicknames such as Foxfire, Ferret, or Thorn; 2) adapt or borrow Celtic references, such as Tintagel; or 3) try to follow the patterns of nomenclature established by Ed Greenwood.

Speaking of which, here's an observation about FR names, elven and N'Tel'Quessir alike. In the future, I'll be leaning more toward the EG style. Over the past year or so, I've observed or participated in several online discussions about real-world names in the Realms, and I've come to agree with those folks who feel that these references damage the reader's ability to suspend disbelief and detract from the distinctive feel of the setting. So any new characters I might create will not be given real-world names such as Ebenezer or Bronwyn.

16 Feb 2004
Bronwyn (or its varients, Bronwen, Branwen, Branwyn) is a popular Welsh name, but since it's not frequently used in the US, it sounds Realmsian enough for most readers. That said, there's no telling when a name will become trendy. Not long ago, names such as Caitlin, Heather, and Ashley (which until recently was considered a man's name) were uncommon in this country. Who knows? In a few years, we could have a bumper crop of little Bronwyns, and people who read moldy, yellowed copies of Thornhold will think, "Sheesh! She might as well have named the character Kate or Susan."

I'm very fond of Celtic mythology, and I liked the various aspects of the name Bronwyn. (See below) Her brother's birth name was Bran, which was also a nod to the Celtic mythos. It made sense to me that a paladin would name his children after aspects of a war deity.

The names also incorporated some supliminal references to plot. Bran means "raven," while one possible meaning of Branwyn is "white raven." The contrast of black and white with the common element of the raven suggests siblings in opposition.

Yes, I spend far too much time thinking about this stuff.

Branwen — (BRAN-wen or BRAN-oo-wen) "white bosomed," or "a girl with black hair and white skin"; from Welsh bran "crow" + gwen "shining, holy". In Mabinogi, Branwen is Bran's sister. They are male and female aspects of the Celtic war deity. Popular name in Wales.

Bronwen — (BRON-wen) from Welsh bron "breast" + gwen "shining, holy"; also a variant of Branwen. Bronwyn.

BRANWEN f Welsh, Welsh Mythology
Pronounced: BRAN-wen Means "beautiful raven" from Welsh bran "raven" and gwen "fair, white, blessed". In the Mabinogion, a collection of tales from Welsh myth, she is the sister of the British king Bran and the wife of the Irish king Matholwch.

17 Feb 2004
Interesting question, but I'd have to say no, the Tor book hasn't been the influencing factor here. Other creative outlets are important, but I have been writing outside of the Realms for years --mostly short stories, published and unpublished, plus articles, reviews, essays, poetry, music, and first drafts for two book-length manuscripts. (Don't ask.)

Quite simply, I came to agree with the reasoning put forth by Ed Greenwood's fans. Your arguments, Faraer, were particularly compelling, but I've been coming to this conclusion for a while. While working on the Halruaa trilogy, I did a rough pronunciation guide for established common nouns. It became obvious that the names worked best if each letter was given time and weight -- which is precisely what Ed intended for ALL Realms names. That moved me toward EG-style nomenclature. Finally, I'm writing a book with Ed, and the Realms is so obviously and emphatically his world. How can anyone NOT honor that, in every way possible? I've always tried to be true to the lore and the tone of the Realms, but for some reason, I didn't consider nomenclature to be part of that tone. Now I do.

17 Feb 2004
The Moonshaes definitely have a Celtic influence, and the names reflect this: Deirdre, Robin, Tristan. But the Moonshaes are not Ed Greenwood's creation: they were added to the Realms, and have a feel quite distinct from the rest of the world. That said, it seems reasonable to use Nordic-sounding names (Wulfgar, Hrolf, Hronulf, Byorn, Dagmar) for northern barbarians, and names with Greek or Italian roots (Matteo, Andris, Tzigone) for Halruaa and other southern lands.

17 Feb 2004
I like ravens, and not just for the part they play in so many cultures' mythologies. They're extremely intelligent birds -- the Einsteins of the avian world. I started reading about them in relation to wolves (back when I was researching wolves for a book I never finished.) They're capable of very complex social behaviors; for example, ravens scout for wounded animals and then call wolves to the kill. The wolves, in turn, allow ravens to eat alongside them. Pretty nifty arrangement for all concerned, with the exception of the entree.

Ravens and crows will also interact with humans. Occasionally they'll imitate human behavior (such as helping gardeners pull weeds.) Sometimes they're willing to cut a deal. I've got one going with the local "raven mafia." They always gather on trash pickup day, but in exchange for some "protection bread," they'll leave my trash alone and even chase other birds away from it. And it's not because they fill up on bread -- they still go through the neighbor's trash. I tried to explain my theory of raven mafia to a neighbor. She obviously thought I was crazy, but she gave it a try and was astonished to learn that these birds really do seem to recognize and honor a reciprocal arrangement.

If you don't believe this, offer a gift to a raven or crow and observe its response. (They're especially fond of peanuts still in the shell.) Chances are, they'll find an interesting way to reward you for your generosity.

17 Feb 2004
Danilo, like Arilyn, lives in two worlds and is not entirely comfortable in either. Despite his highly social personality, he is at heart something of a loner. He and Arilyn are kindred spirits at a very deep level, despite their superficial differences. Arilyn was initially drawn to him because he offers her things her elven heart needs, but her pragmatic human nature lacks: music, laughter, an appreciation for beauty. They've also got a chemistry thing going, and who can explain the sense and logic of that? Ever notice that sometimes you meet someone who, on paper, seems perfect for you, but you couldn't ignite a spark between the two of you if you used gasoline and a blowtorch? And then, sometimes, unexpected lightning hits. The same thing happens with characters. Or doesn't, as the case may be.

As for what Elaith said to Arilyn? ("Quefirre soora kan izzt?")
Elaith's first words to Arilyn translate to something like, "Amnestria, can it really be you?" At first glance, he mistook Arilyn for her mother, who many years earlier was Elaith's betrothed.

18 Feb 2004
Or here's another possibility: remember Zoastria, from Silver Shadows? She is now at rest among the forest elves of Tethyr. At the end of Dream Spheres, Elaith met and fought in common cause with a band of these elves. If he had reason to visit the elven community in Tethyr, and if by chance he happened upon the sleeping warrior and learned her story and heritage, wouldn't that raise a few interesting questions in his mind?

19 Feb 2004
Quick summary: Zoastria was one of Arilyn's ancesters, a former wielder of her moonblade. Her body remained in a sort of magical stasis, and through some unknown course of events, eventually ended up as a novelty item in a rich man's treasure trove. She was returned to life when her elfshadow was called from the sword. This story is told in Silver Shadows.

FYI, this is not a power inherent in all moonblades, and it would come as a surprise to Elaith. But it might also get him thinking about OTHER former wielders.

Backing up a couple of books. Amnestria, who at the time of her death was known as Z'beryl, was killed in Evereska. Her family came from Evermeet for her funeral, which was a very clandestine affair. At the beginning of Elfshadow, an adolescent Arilyn mourns her mother at the foot of a statue of Hannali Celanil -- NOT at her grave, which would have been a logical choice, if indeed that choice were open to her. Elaith might well put all these threads together and think, Hmm, I wonder where Amnestria's resting place might be, and what I might find there...

19 Feb 2004
The first two books of the (Starlight and Shadows) trilogy were written several years ago, under second edition rules. According to 2nd ed, sunlight destroyed a drow's innate magical abilities, spells, and magical items. Third edition reversed this, which basically negated the underlying premise of the first two books: that Liriel needed to find a way to take her drow magic to the surface. My choices were to finish the trilogy with 2nd ed rules and ignore the rule changes, use 3E rules for the third book and say to hell with internal consistency, or work a bridge event into the plot. I decided upon the third option.

20 Feb 2004
Although there's much to be said for pain and suffering, Elaith would ultimately regard this as a crude and insufficient revenge. The only thing that would be truly satisfying is take from Kymil the one thing that matters most to him in the world. And that might be a tall order, since Kymil's passion is centered in elven politics.

Alas, there is no perfect solution in an imperfect world.

23 Feb 2004
I didn't try to portray the mindset of a paladin order, per se. The main question in Thornhold is not "What is a paladin like?" but "What would it be like to be the CHILD of a paladin?" There's a huge difference, especially considering some of the tough choices a paladin must make. The old 2nd edition handbook, The Complete Guide to Paladins, indicates that very few marry and have families, partly because of their short life expectancy, but largely because duty and family present conflicting demands.

Writing Thornhold was made both easy and difficult by my strict religious background. I understand the paladin mindset extremely well -- well enough to know that the religious life isn't as simple as game rules want to make it. I used to teach history, so my view of the paladin order was also shaped by the real-world history of the Crusades, particularly the Knights Templar and Knights of Malta. History teaches us that life is messy, and choices are seldom black and white. The young paladin Algorand, a good man and a skilled fighter, found that life outside the monestary presented challenges for which he was sadly unprepared. Thornhold explores the complexity of moral issues, and the reality of tough decisions that frequently have mixed results.

23 Feb 2004
A water genasi has a minor role in Windwalker, but I really haven't given any thought to such characters in future stories -- mostly because I have no idea what I'll be doing next!

24 Feb 2004
Truth be told, I'm not particularly interested in this new round of half-somethings. In recent years the Realms have acquired a good many new races, most of them hybrids of some sort. If a new creature happens to fit into a developing plot, fine, but I wouldn't go out of my way to create a storyline to include one.

For example, the introduction of "star elves," one of last year's new elven subraces, into the area around Rashemen explained several things about Sharlarra, a character in Windwalker. Because this new bit of lore served the plot and characterizations already in progress, I incorporated it into the story. But I'm far less likely to read an article in DRAGON and think, "Oooh! Ghost elves! Gotta write a book about them..."

To each, his own. Most likely there are some FR writers who are fascinated by the deathtouched and can't wait to write a dark, compelling tale about them. But that's not where my interests lie.

25 Feb 2004
gave this question a considerable amount of thought when I started writing Daughter of the Drow. Despite research and inquiries, I did not find a single, definitive answer, so I had to find an explanation that made sense to me.

It seemed logical to me that dreams--the flotsom of the subconscious--would not provide any sort of restoration to the ever-scheming drow. It seemed likely that any Underdark drow who did experience dreams would probably be driven mad by them. I postulated that natural adaption would result in other solutions, but also assumed that their elven natures, including the ability to enter reverie, were fragmented by their environment. So I left the issue unresolved, describing various drow in different situations. Some drow slept, some entered a form of Reverie, and some, such as Gromph, could not sleep at all. (It also occurred to me that the drow would likely have developed some sort of brief but deeply restorative meditation -- a very useful skill for warriors, priestesses and wizards who, for whatever reason, cannot afford to take their eyes off their enemies for long.)

This reasoning is not part of canon lore -- it's just the thought processes behind my handling of the matter in the Starlight & Shadows trilogy.

I don't know whether or not 3.5 addresses this issue or offers a definitive answer, but there are references in the earlier lore to support these possible options: dreamless sleep, sleep with a dream phase, elven reverie.

28 Feb 2004
I have no knack for the genre; in fact, a friend and true romance fan read a manuscript and offered this critique: "Girl, you don't have a romantic bone in your body. Face it: you're weird, so maybe you should write science fiction or fantasy..." The very next day, I saw an ad in the Writers' Digest magazine for the Harpers open call. Thus inspired, I wrote the proposal for the book that became Elfshadow

I'm certainly not a romance novelist, but relationships are usually an important part of my stories. Arilyn and Dan are my favorite couple, and Liriel and Fyodor probably my most overtly passionate pair. Amlaruil and Zaor had a love story that went on for centuries. Maybe because of my rapidly advancing age, I've been trending toward long-term love affairs, such as Khelben and Laerel, King Zalathorm and Beatrice. There's lost love -- Elaith Craulnober still pines for his princess. There are also a number of deep, non-romantic friendships: Bronwyn and Ebenezer, Matteo and Tzigone.

Sword & sorcery novels, by their nature, lean toward action. Relationship issues are important to character development and plot, but they seldom BECOME the plot.

01 Mar 2004
Richard makes a good point about novel/game continuity; namely, fiction writers need to acknowledge the existence of resurrection spells, while providing a reason why they shouldn't be used. (In fact, one of the challenges of writing in a magic-rich setting is finding ways to AVOID easy conflict resolution through powerful spells and people.)

Since many of my stories feature elves, I advanced the theory that disturbing the afterlife is an elven taboo. That was consistent with the existing lore of elven culture, and explained why many of my characters will not consider raising their fallen companions.

In Liriel's story, the only diety to whom she could pray was Lolth, so she had a very good reason not to seek resurrection. She knew that an evil goddess's "gifts" tend to come with a very large price tag.

That said, I've frequently been tempted to include a resurrection in a short story or novel, just to show why this shouldn't be done. People IRL who have near-death experiences often find that their lives are profoundly changed. It doesn't seem likely to me that a Realms character could return from death and pick up without missing a step. Surely there would be lingering effects, unforeseen consequences. It seems to me that all magic has a price -- and we're not just talking about the thousands of gold pieces needed to buy a resurrection spell.

Resurrection shouldn't be a cheap and easy solution in fiction. It should be rare and difficult, and because it's rare and difficult, it might occasionally become a useful characterization tool. For example, the elven afterlife is such a wondrous thing that disturbing it strikes me as an incredibly selfish act. It reminds me of something I saw in a gardening catalogue -- a little memorial stone with the following sentiment: "If tears could form a staircase and grief could forge a chain, I'd build a path to heaven and bring you back again." Not only is this dreadful doggerel, it's also incredibly self-centered. To paraphrase: "I miss you, so I would drag you out of Paradise if I could." Seen in this light, resurrection could be a powerful characterization tool, revealing the character seeking the resurrection spell as a self-absorbed git only concerned with his own wants and needs. Conversely, it could demonstrate that a cause is so important to the survivors that they consider the resurrection of a powerful ally more important than their own personal moral codes, or the deceased's eternal happiness.

But however resurrection might be used in fiction, it should never be as easy as a bi-weekly resurrection of Knuckles the thief and his +11 hackmaster sword.

02 Mar 2004
None of them are quite like Arilyn as I picture her, but the Fred Fields painting on Elfshadow is probably the closest. (Of Arilyn, but most decidedly not Danilo.) The FRCS illo strikes me as less problematic than the fact that Arilyn left the Harpers several years before this game supplement was released.

02 Mar 2004
Every now and then you'll see a hardcover reprint, but it's certainly not the norm. In fact, when I first started writing Windwalker, I was told that it would be released as a paperback original. I'm not sure why the decision was made to upgrade to a hardcover release. Either way, the situation with hard/soft books, old/new covers makes getting a matched set a little tough for long-time readers. It's like koshur hot dogs and buns -- the packaging is such that it's hard not to end up with one extra of something.

For new readers, however, it's no problem--just wait for the paperback of WW and you've got a set of matching paperbacks. In fact, I've been waiting for the paperback (just got my author copies yesterday!) so I could send a matched set to a reader who named his daughter Liriel.

02 Mar 2004
Arilyn puts forth the saying, "how [brief] their flame, yet how bright they burn."...

That's my way of explaining how some elves regard humans. As far as I know, that view was not previously expounded in Realms lore.

03 Mar 2004
This "fact" of elven genetics has been part of Realms lore for a very long time -- it comes right from the old gray boxed set. I suspect that the creators were addressing the endless permutations, and the resulting muddling of the elven subraces, that would inevitably arise from the mingling of elven races.

Anyone who games has probably run into players who mistake quilting for creativity -- you know, a patch of this, a piece of that, and you end up with players who proudly announce, "My character is a quatroon: a quarter each drow, sea elf, firbolg, and were-unicorn. He's also a druid paladin of Sune, but he wears plate armor and carries two scimitars..."

::shudders::

04 Mar 2004
Oh, don't get me started on moonblades...

I know this is a shared world, but should that preclude an occasional foray into originality? Dozens of magic swords are described in the lore, and endless possibilities exist for self-created swords. There is no reason for a half-orc/half-water-genasi ranger who lives a life of monkish contemplation in the Anauroch desert to wield a moonblade, an artifact created to -- wait for it -- help select the elven royal family.

Pounding my head on the table doesn't cover it.

On moonblades
09 Mar 2004
Volo puts out as much misinformation as information, which necessitates the occasional footnote from Elminster to contradict some of his claims. I treat Volo's work as entertaining tavern tales, some of which may be true. It is my opinion that the Starym Moonblade is one of the more fanciful tales, and that this sword does not, in fact, exist. The notion of a gold elf blade "gone bad" is simply too contradictory to ring true.
[…]
No, you're right: the original creators of the moonblades had the moon elf race in mind. Nearly every wielder of these swords has been a full-blooded moon elf. The exception is Arilyn, a half-elf. A possible future exception is Azariah Craulnober, who takes after her mother, a gold elf and who may or may not be able to claim the sword Elaith holds in trust for her.

Of course anyone may change Realmslore to suit his or her campaign, but the following reflects my understanding of moonblades.

No new moonblades will ever be created, with or without the blessing of the elven gods. They have served their purpose; their time is past. This doesn't mean that new swords with similar powers can't be created, but they will not be moonblades.

Sirius is correct in saying that only three swords have been named. (Keep in mind that I'm discounting the Starym moonblade as apocryphal lore.) So, how many moonblades are still out there?

When Zaor was chosen as king, there were twenty-five living moonblades. That was quite some time ago, and I doubt there are more than eight or nine in active use. Its possible that a few others retain their magic, but have become so powerful that any attempt to claim them is virtually suidical. It seems likely that these too-powerful swords will go dormant in time. Each sword that retains its powers probably has a significant role to play in the history of the People.

It is impossible for an adventurer to find a living moonblade in a treasure trove and add it to his weapon collection. Anyone who is not of the direct family line will be slain when he attempts to draw the sword.

It is possible to use a dormant moonblade as if it were any other well-made elven sword. Those who contemplate this course of action, however, should keep in mind that elves would consider this a mortal offense. He should expect to be challenged by the first elf he encounters. If he relinquishes the blade willingly, the matter might -- MIGHT -- be resolved without bloodshed. No elf would carry a dormant blade belonging to another clan -- that's extremely taboo. Few elves would carry their family's dormant blade, for obvious matters of pride. Elaith carried his in Elfsong, and this revealed both his resolve and his sense of estrangement from elven proprieties.
[…]

14 Mar 2004
They did develop a relationship, but it's somewhat tentative.

Before I say much more, I should check to see what, if anything, has befallen Bran in the game lore. A while back, there was a possibility that he would be involved in the problems with Hellgate Keep, and I don't recall offhand what became of that.

16 Mar 2004
Technically, Arilyn and Danilo aren't married -- or to be more specific, the wedding has not occurred in any published book. But I agree about the family complications.

Bran was the natural choice for catalyst, since he and Khelben have some (unspecified) issues that go way back. As for the end result, do not get me started about the demise of the story thread started in Thornhold! Hopefully that story will be told someday.

But to answer Sirius Black's question, this story will not be told in the upcoming Greenwood/Cunningham Waterdeep novel. The editors wanted the book to focus on new characters in a current time. So that's what it is. It's intended to be a fun, fast, swash-buckling romp.

On the Waterdeep novel and thoughts about what a “Candlekeep” novel might be like

16 Mar 2004
Years ago, when Ed and I first started talking about this book, that was what I had in mind. But by the time WotC got around to saying, yes, we want this book, the "Rutherford historical novel" story pattern was no longer on the table.

On a sort-of-related note, I think Candlekeep would be another interesting setting for a historical novel. The adventures of various "collectors" could make for an interesting framework for a story that catalogues not only the development of the library, but the changing political/social climate of the Realms. The acquisition of books might sound rather tame to those of us who order from amazon.com, but consider the history of the Book of Kells. Those who read Irish history might recall the Battle of the Book, a brief war fought over an illegally copied manuscript. In a world where scrolls can unleash spells and words quite literally have power, this could be one hell of a novel.

17 Mar 2004
Kymil does not think of his actions as wrong. In his opinion, they are means to a worthy end: the re-establishment of the Council. He sees himself as a revolutionary who wishes to overthrow the monarchy in favor of a republic. He is further incensed by the fact that that royal family are moon elves, who he sees as less worthy than -- indeed, inferior to -- the gold elf race. For much of the history of Faerun's elves, power has resided in the hands of the gold elves. Kymil seeks a return to past glories.

Real world history teaches us that people are willing to accept very strange allies and do terrible things to reach ends they consider worthwhile. I don't see Kymil repenting any time in the near future.

I don't have a story in the pipeline that includes Kymil as a character. It's possible that he might show up in another book or game product, but I haven't heard any rumors to that effect.

24 Mar 2004
I have ideas, certainly, but I don't think they will become published stories --at least, not any time soon.

At present, I have two FR stories in the pipeline: "Gorlist's Dragon," the short story in the upcoming anthology Realms of the Dragons, and the Waterdeep book. That's all I have in the planning stage at this point. I'm not sure what I'll be writing for the Realms after the Waterdeep book.

I do have several outside-of-the-Realms projects lined up, including a new series of contemporary mysteries with dark fantasy elements. The heroine is darker that Liriel Baenre -- in character, not complexion. It seems that elves are alive and well and living in urban New England, and they have more in common with the Sopranos than with Tolkien tree-huggers. The first book is Shadows in the Darkness, and it will be out this fall. I'm also talking to another publisher about possible involvement in a terrific shared-world series, one with a lot of potential for fun, fast-paced adventures. The central character will be a bard, and I've already started work on original music to go with this project. (Gives me a good excuse to dust off the music degree and upgrade the midi equipment.) And I've got a historical novel in progress, and an Arthurian novel in the planning stages. I'm also world-building a setting based on African mythology, with a young adult fantasy novel in mind (with promotional d20 material and ready-to-play adventures available as free downloads.) And next month I'll be doing website construction -- rebuilding my own site from the ground up, getting the drow art gallery online, creating websites for a couple of writer buddies. So with one thing and another, I keep busy.

On editorial guidelines
24 Mar 2004
According to the editorial guidelines, the Realms books are supposed to be "PG-13." Not G, but certainly not R.

There are a number of reasons for this. One involves the books' demographics, as well as the age of many gamers. Readers usually discover the Realms between the ages of ten and twelve. Yes, there are readers in their thirties and even forties, and these readers want adult content. I would argue, however, against the notion that "adult content" only refers to explicit sex and graphic violence. Hopefully older readers will keep coming back for the characterizations, the story, and the writing.

Fantasy readers are an unusually voracious bunch, and most of the readers I know enjoy a wide range of books. It's possible for an adult to read and enjoy the Harry Potter books (a representative of the US publisher said in an TV interview that as many as 67% of the readers are adults) and still read stories by G.R.R. Martin, Anne Rice, and China Mieville. Explicit sex and graphic violence might not be healthy fare for children, but neither do most adults desire a steady, uninterupted diet.

25 Mar 2004
Yes, there is an "elf" and "shadow" theme going on in Songs & Swords. I can see how it might be confusing. If you seek clarity, there's a list of my published stuff on the Bookshelf page of my website, http://www.elainecunningham.com/.

And yes, the publishers usually pick the titles. In my case, that's probably just as well. The working title for The Floodgate was "Watergate" for several weeks before I figured out why that just didn't sound right. Similarly, I wanted "Moonshadow" for my first book (Elfshadow). The way my editor tells it, for several days after I suggested that title, the TSR staff went around humming Cat Stevens songs and cursing my name. I've learned since then that, generally speaking, it's a good idea to avoid "moon" in a fantasy title: there are probably more moons in a row of fantasy novels than in a busload of drunken frat boys.

Opinions about her own books and her personality relating through her characters

25 Mar 2004
Each book has its own challenges. Each has things I'm happy with and things I wish I'd done differently. It's hard to point to a single book and say, "This one." Nor can I say that Elfsong flowed easily, though it's always good when people get that impression. I wrote it shortly after we'd moved to Los Angeles (which I hated), working mostly late at night and during my younger son's nap times. I was seriously sleep-deprived during the entire process and further slowed by a bad case of mono. One of the challenges in writing is to keep your personal life OUT of the books.

There are some commonalities. My ethnic background is primarily Slavic, and Slavic folklore was part of Fyodor's "voice" from the beginning. I don't think the book is a personality indicator, though, except to say that Fyodor's personality -- a mixture of fatalism, humor, melancholy, and fervent nationalism -- is familiar to me. He's not based on any person I know, but his portrayal is consistent with people I know.

I'm not sure that books are good indicators into the personality, life styles, and belief systems of the writers. One of many reasons I shook the dust of the WotC forums off my feet is that so many people there think it's okay to comment on Ed Greenwood's personal moral code, simply because some of the characters in his fantasy novels take off their clothes. I have from time to time been amazed at what people infer about me from my stories; for example, Thornhold convinced a number of amatuer reviewers that I have no regard for authority and do not respect those who choose a religious life -- a sweeping judgement on my value system from people who wouldn't be able to pick me out in a crowded elevator.

But people make assumptions. A WotC promotion person recently sent me an email interview to do for the company website. It contained at least three questions about how much of "me" is in various characters and their experiences. Which character am I most like? Do I have Danilo's sense of humor? How does Liriel's experience mirror my own? The answer was, repeatedly, "None of my books are autobiographical."

Of course, books do reflect the writer's interests and, to some extent, values. One of the themes that can be seen in almost every plot element of Thornhold is the complexity and the importance of family. Elfsong is about the power of music and the important of understanding history -- coming from someone who has taught both, and has seen how our educational system (and our society as a whole) denigates the study of both. Windwalker is about cause and effect: actions have consequences, which are sometimes unexpected and far-reaching.

26 Mar 2004
There are definitely stories to be told in Rashemen. If the tale of Liriel and her new-found elven sisterhood picks up, it would be set in that area. Sharlarra's people -- star elves -- are just emerging from the plane of existence to which they withdrew many years ago. Apparently there's some great evil or danger brewing there that's driving them back into the Prime Material Plane. (This info is based upon the new elven race detailed in the recent game product -- brain blip on the title -- that focuses on this region.)

I think that Silverymoon would be a great setting for a novel, particularly one that features bards. The recent political unheavals and the re-establishment of the barding college would create endless plot possibilities, and the setting itself would be interesting to explore.

Alas, I wouldn't "expect" Elaith to find out about his son any time soon. The folks at WotC have been more interested recently in new characters than in revisiting established characters -- with notable exceptions, such as Drizzt and Elminster. But I keep nagging remain optimistic, and perhaps future stories might eventually trend in that direction.

26 Mar 2004
One of them, the elven armada landfall, is described in the novel Evermeet. The other two -- birth of the sea elves and the Green Island dragonswar -- have not, to the best of my knowledge, been told in FR lore.

I have often thought that a collection of folk tales about gods and heros -- old stories beloved by elves, halflings, dwarves, and so on -- would be a great addition to Realmslore. Realms of Folklore, or some such. I can see, however, how such a project might be problematic; some gamers would puzzle endlessly over whether or not a tale about a dwarven god was "factual" or even "canon." Some gamers can be more literal-minded than fundamentalists. You would not believe some of the questions that arose from the elven mythology section of Evermeet. "Hey! Elves and orcs sprung up from the blood shed during the battle of Grummsh and Corellon, but you say there were elves BEFORE this battle!" Another favorite: "Did one elf/orc come into being per each drop of divine blood spilled, or was it some other ratio?"

Kermit the Frog: "It's a myth, I tell you! Myth! Myth!"
Lisping waitress: "Yeth?"

::Ahem::

All things considered, it seems unlikely to me that elven folklore will become part of the official lore. On a related issue, I find to my regret that the focus of my Realms tales has been increasingly shifting away from elves; in fact, the folks at WotC specifically requested that my Counselors & Kings trilogy should avoid them. (I did, however, manage to sneak in an elven villain...)

26 Mar 2004
No reason, but I assumed at the time that this request was based on the desired setting. The folks at WotC wanted a trilogy set in Halruaa, and since there are very few elves in the area, a story about humans would be more representative of the culture.

Alas, I doubt I'll be returning to FR elves any time soon, since there are elf-related projects by other writers currently in the pipeline. With this in mind, I'm found other outlets for my elfin inclinations. I won't go into these here, but I'll post details on my website when I update in April.

26 Mar 2004
Yes, the elven races did undergo a chance with 3E. The FR elven races under second edition rules were as follows:

Gold elves (aka high or sun elves)
Moon elves (aka silver or gray elves)
Green elves (aka wood, forest, or wild elves)
Sea elves
Drow
Avarial*
Lythari**

*Some second edition FR lore gave stats for avarial, other sources suggested that this race was extinct.

**The lythari were introduced in the old gaming accessory Elves of Evermeet.

Under second edition rules, the terms green, wood, forest and wild were used interchangably. Third edition, however, created a division between wild elves (aka green elves) and wood elves, which as also called copper or sylvan elves. Edition 3.5 added star elves and ghost elves.

This can cause confusion to folks who read (and, frankly, those who write) the novels.

I have mixed feelings about the tatoo issue. Yes, facial markings would provide better camoflauge in a woodland setting, and yes, elves have a strong inclination toward artistry in personal adornment. I can envision them painting themself with plant-based dyes. Think in terms of the henna-painted designs women in certain cultures in India paint on their palms. These designs are beautiful, complex, symbolic -- and temporary.

29 Mar 2004
::Two aged monks, wistfully viewing a shelf of lore forgotten by younger monks and left to molder...::

Do you see the dust, Alaundo?
I remember long ago the treasured volumes on this shelf.
In the candlelight, Alaundo,
You were thumbing crumbling pages, reading softly to yourself.
I could hear the ancient tales
And sounds of distant song, like memories of an elf...

There was beauty that could make you weep
In Candlekeep, Alaundo.
It was shining there for you and me
Eternally, Alaundo.
Though I never thought the past could fade
In dust and damp,
If we have to write it all again
We will, my friend, Alaundo. . .

31 Mar 2004
Does SFWA membership prompt editors to give your submissions a more timely or thoughtful perusal? I've heard mixed opinions. Some insist it helps, others sneer at cover letters that point out "SFWA Member Since 1998." I incline toward the middle: SWFA membership indicates that you've made one or two professional sales. After you've been writing for a while, however, you're more likely to emphasize your work than your affiliations.

I was a member of SFWA, but left the organization for reasons Jim has already stated. I joined HWA last year in anticipation of my dark fantasy novel's release, but my involvement so far has been limited, and I can't offer an informed opinion of the group other than to comment that their email newsletter has a LOT of info, and the southern New England chapter is very active.

Back in my pre-published days, I held brief membership in RWA (Romance Writers of America.) I attended a few meetings of the Washington DC chapter, and found the atmosphere there to be the antithesis of SFWA. RWA is is a support group, fan group, and social club in one. I also attended one -- count 'em, one -- convention, sponsored by the New Jersey chapter and I can see how some people might find membership very helpful and lots of fun. But it wasn't for me.

01 Apr 2004
When some people fall in love for the first time, they are convinced that no one has ever felt this way before. When a young mother holds her first baby, it seems impossible to her that any child in the world could be half so precious. There's a certain passionate self-focus in new discoveries, and what Winterfox quoted above strikes me as the outpourings of a Book Virgin -- someone who just experienced the joy of reading and the power of storytelling for the first time. There's no use trying to dissuade such passionate advocates, any more than it's sensible (or kind) to inform that new mother her infant is NOT the most beautiful, charming, and magical progeny in the history of humankind. (It is to be hoped, however, that this proud mama keeps her opinions mostly to herself. . .)

Bob Salvatore's books have hooked thousands of young readers. Not all of those will continue to read, but I'm guessing that many will, and some will look back on the Drizzt saga with the same affection I feel for L.M. Montgomery's Anne of Green Gable books -- a series with a strong sense of time and place, and memorable characters who became friends. Drizzt faces a lot of issues confronting young people -- painted in broad strokes, yes, but recognizable and relevant. There is considerable storytelling skill in these books, and older readers can find much to enjoy in them. Of course, the style and tone isn't for everyone, and I understand that the (seemingly inevitable) comparison to Tolkien is bound to raise hackles.

Still, I'm of the opinion that new readers should be welcomed, not scoffed at or even debated. To a comment such as Winterfox quoted, I'd be inclined to say, "Great! Glad you liked that trilogy. Here's a few suggestions for future reading..." And I'd start the list with Bob Salvatore's Corona books, which are similar in tone and pace to the Drizzt books, but longer, more complex, and more nuanced.

Very few young readers will become hooked on fantasy by reading Brian W. Aldiss's Helliconia series, or Walter M. Miller's Saint Leibowitz and the Wild Horse Woman, or Seamus Heaney's brilliant translation of Beowulf. Bob Salvatore is a talented writer who's exceptionally tuned in to the rhythms and imagery of popular culture: movies, music, video games. His Drizzt books provide an accessible doorway to young readers who might find Tolkien's prose too unfamiliar and his pace glacial.

Stylistic considerations aside, a good story is a good story. The popularity of the Drizzt books proves that stories written with young readers in mind can have a broad appeal.

02 Apr 2004
No plans for a novel, but thanks for asking! I'd love to write "Darkhold," a sequel to Thornhold, which would detail the related struggles for control of these two fortresses. Algorind's story would be resolved, as would Cara's future.

The Curious Past is still a going concern, though Bronwyn spends less time in the shop these days.

02 Apr 2004
I can save you a bit of time. The scene is actually in Elfsong, not Elfshadow, and it can be found on pages 280-281 of the Swords & Swords reprint. It's a short sequence, and it goes by quickly, but it's the sort of thing that takes a while to write. Lots of reference to maps, checking to see if an elf with Elaith's dexterity could make certain jumpts, and so on. I didn't think anyone would actually take out maps and follow Elaith's progress, but then, I didn't think anyone would realize that the spellsong was composed to scan to the tune of "L'homme arme" (very popular medieval melody.) There's always someone who will appreciate the extra layers, which balances out that other truth: there's always someone who will catch your every mistake!

When you're dealing with "historical novels" -- which is what I consider the Realms books to be -- getting the details wrong can throw people right out of the story. Not long ago I picked up a historical novel about Mary Queen of Scots. I opened it to a page depicting a scene between her and her husband, Henry Lord Darnley. He was playing the lute and singing, "The Bonny Earl of Moray." At that point in time, the song did not exist. It was composed about thirty years later. Historical novelists simply can't afford to make too many mistakes like that, not if they wish to earn the respect of a knowledgeable audience. And the Realms audience is certainly that.

Elfsong was a lot of fun, but I went a bit overboard on the research and background. I went through probably twenty books on riddles (history of riddling, as well as collections) to develop a tone for Vartain the Riddlemaster. And the singing sword's little ditty is actually a fully composed piece of music. I scored it for harp, viol da gamba, hand drum (preferably a bodhran), and obligato instrument (flute, low whistle, recorder, what-have-you.) Since I'm playing Celtic harp these days, I recently took a stab at rearranging it for harp and solo voice, just for my own amusement. I don't know whether or not an active involvement in "bardcraft" comes though to the page, but it makes the writing process more fun.

03 Apr 2004
Bruce, even though this is a very interesting topic and one that is certainly dear to my heart, I'm going to have to pass on answering, since doing so involve an entire philosophy of bardcraft in the Realms. I'm not currently involved in this aspect of FR, not as a writer and certainly not as a game designer. As I've said before, it is extremely unlikely that I'll ever write FR game product. Also, there's a quartet of bard novels in the works. I am not involved in the process -- I don't even know who's writing -- and I don't want to say anything that might step on someone's toes down the time.

Bran's view on the Moonstars is another topic I have to leave alone, for fear of stepping on other writers' toes. In this, I'm assuming that WotC will eventually get around to telling Khelben's story.

03 Apr 2004
What immediately comes to mind is a vivid dream I had after attending a performance of Mozart's "Marriage of Figaro." Danilo and Arilyn somehow teleported into the middle of a performance. Arilyn's response was "whom do I have to kill to get out of here?" bemusement, but Dan was quite taken with the whole idea, entering into the fun and doing all of his lines in recitative. Very odd dream. But yes, I think Danilo would appreciate Mozart's comic opera, especially Figaro and The Magic Flute.

03 Apr 2004
As for the other groups, bear in mind that Danilo had a rigorous "classical" music education, starting at an early age, and studying with the best bards Lady Cassandra's money could hire. I doubt he would gravitate toward the light and fluffy, though he would appreciate the occasional bawdy tune. He would probably find Mozart a kindred spirit, and he'd appreciate the role that the best of "movie music" plays. He'd probably like R&B much more than jazz, and could appreciate certain types of rock, pop, and club music, primarily as a background for dancing.

Some backstory from Evermeet: Island of Elvesand Arilyn’s thoughts on receiving Danilo’s manuscript

03 Apr 2004
She hasn't received it yet.

In the Epilogue, Khelben thanked Danilo for sending him the manuscript for review and mentioned that he was sending it to an elven scribe -- and that Danilo shouldn't expect it back any time soon.

Part of the backstory -- stuff not included in the novel -- is an agreement Danilo had with Khelben and with some of the elven contributors that no one would see the manuscript or know of its contents until it received certain approvals. This collection of stories contains several revelations about the Moonflower family that Arilyn will find exceedingly interesting -- for example, it'll be news to her that she has a half-brother. I suspect that when she finally gets the manuscript, she'll be a little unhappy with Dan for holding back this information for so long. But she understands the concept of honoring your word once it's given, and she'll no doubt get over it.

An even more interesting question is how Elaith will react when he learns he has a son -- and than, when he learns that Danilo has been aware of the hidden prince's existence since 1371.

04 Apr 2004
Agents play several roles, but their primary one is that of a salesman. They need a marketable product, which means either a completed manuscript or an author with a proven track record. And even then, the Brand Name Author must have a new and viable product to sell. (For example, an agent could most likely seize an editor's attention with an opening such as, "I've just acquired J.K. Rowling as a client. Would you like to see a proposal for her next series?")

Sometimes you can sell a book from a proposal. This is especially true in shared-world writing. Elfshadow was accepted from a proposal in a situation very similar to Kameron Franklin's. I was offered a Star Wars novel on the strength of Bob Salvatore's recommendation. After writing fifteen shared-world books, I'd probably have an easier time moving into another shared world than an aspiring writer would have of breaking into that same world. Ditto with "book packaging," in which a writer does an original story based on someone's story concept -- very similar to shared-world writing. In such circumstances, a finished novel probably isn't going to help you land the job. A good proposal, a writing sample that shows talent, flexiblity -- that's what shared-world writing requires. I've received many emails from aspiring writers eager to sell their trilogies to WotC. Continuity control, a good balance of stories, conflicts with or duplication of ideas already in the pipeline -- these are just a few of the reasons why this approach is unlikely to get the WotC nod.

But for something other than shared-world fiction, I wouldn't submit a proposal and sample chapters. Completed manuscript only. Milage may differ, but here's my POV.

If I were an editor, I wouldn't automatically assume that someone who writes sword and sorcery can pull off a convincing historical novel set in 16th century Scotland. I'd want to see a manuscript. Same thing for "original fantasy." A sensible editor would think, Okay, this woman has written 16 short novels in someone else's setting, but that doesn't tell me if she can create an intriguing original setting, or for that matter, handle the pacing of an epic-length tale.

06 Apr 2004
The Knights of Samular and Thornhold were created for the novel.

Admittedly the odds on ever seeing "Darkhold" -- the sequel I'd like to write to Thornhold -- are very low, but I'd like to keep that options open. The full powers of the rings would be a big part of that plot.

You're right about the siege tower. For further amplification, here's an analogy: it's a battery-operated device, and the rings are the batteries.

14 Apr 2004
Elaith knows the value of hidden weapons, and in most of my stories he regards magic as one of them. He does cast spells, but the reader doesn't "see" him doing it. For example, in Elfsong he surprises Lucia Thione in her bedchamber after having disabled all the magical wards on her home. He also uses simple pick-pocket spells to remove a ring from Danilo's hand. He also collects magical items, which provides him a cover for those times when he uses magic but doesn't wish to be known as a mage. The most overt example of spellcasting is in the short story "The Great Hunt," published in DRAGON magazine. Elaith took on wolf form to outwit a band of Grumsh followers. Since he didn't intend for any of the orcs to survive, subtlety wasn't a concern.

As Eric pointed out, Elaith has always been considered a fighter/wizard. I have no idea why the folks at WotC decided that the 3E Elaith was a rogue rather than a fighter. Possibly because he was frequently described as a "rogue elf," and the designers didn't want to confuse readers?

Erik's suggestion of "eldritch knight" works much better, both in defining his skills and his personality. Elaith grew up in the courts of Evermeet, and rose to become captain of the king's guard. For this position, he would need skills in both fighting and wizardry.

14 Apr 2004
Evermeet's heraldry has not, to the best of my knowledge, been addressed in FR lore. It's possible that each elven house has a coat of arms, but it's my (completely unofficial) opinion that elves are amused by this decidedly human affectation. ("Ah, yes - another jumped-up merchant who can trace his lineage back two hundred years. . .")

In response to the characters in Elaine’s Realms of the Arcane short story

15 Apr 2004
This story is very different from most of my stuff. (Short stories are a great place to experiment.) This is a meta-story -- a story ABOUT a story -- in which a wemic loremaster, captured by curious elven adventurers, tells them a legend from Realms prehistory about the creation of the sahuagin by an Illithiiri necromancer. It's a grim tale, meant as a rebuke to his elven captors. Whether or not it's historically factual (within context of the Realms...)is not stated. The wemic dismisses this concern as irrelevant: Truth, he claims, is more easily found in myth than in history.

On characters with artificial (Baelam the Bold) hands grasping active moonblades

16 Apr 2004
My guess would be that the moonblade would respond to the entire person, not simply the appendage touching it. If anything, I suspect the metal would amplify the shock.

Otherwise, you'd have evil necromancers and orcs with deep pockets shouting, "Bring me the hand of a noble elf!" (Consider Roger Zelazny's good-vs-evil millinium competition in "Bring Me The Head of Prince Charming...")

24 Apr 2004
Would you be interested in reading a "caper story" set in the Realms? Think in terms of recent movies such as "The Italian Job" and the remake of "Ocean's Eleven."

My first FR book was a mystery in a fantasy setting. That suited the characters involved. Recently I was talking with my husband about my desire to write a book focusing on Elaith Craulnober. He suggested a caper novel, and that struck me as exactly the right sort of plot for this character, especially if he were pitted against a really worthy opponent. A caper story would allow Elaith to strut his stuff, it has room for the sort of moral relativism that defines Elaith's decision-making process, and it could have larger, hidden, more personal stakes that would provide interesting opportunities for character development.

Offhand, I can't think of any FR books that have used this particular plot type. Any comments or observations?

28 Apr 2004
After writing Evermeet, I had extensive notes that collected just about every scrap of elf-related lore then published in the Realms, (including the old Spelljammer comic books!) as well as a thick file of email discussions among various Realmslore scholars such as Eric Boyd and Stephen Schend. To my great regret, this file disappeared during the move from Maryland to Rhode Island. I no longer have the information I used to write that section, and unfortunately I lack the time at present to reconstruct it.

In fact, the "Realmslore elf center" in my brain has been moved out of short-term memory to a file in one of the "back rooms." When the folks at WotC assigned me a trilogy set in Halruaa, they specified that it was NOT to focus on elves. My next book was about a drow, but had very little to do with drow culture, much less elven culture. There were two elves in secondary roles--Thorn and Sharlarra--but both were solitary elves, cut off from their kind. My current project is set in Waterdeep, and all the major characters are human. (Elaith has a minor role, but he's a rogue elf functioning in a human society, and certainly not typical of his race or class.) So it has been quite a while since I pondered FR elves in terms of history or culture. I have no idea whether or not I will not be writing about FR elves in the future.

Lacking an outlet for things elven, I started a new (non-FR) series that involves developing an elven culture and history. Because I want this project to be different and distinctive, I've deliberately continued the pattern set by my recent assignments, and distanced myself from FR elven lore.

Regarding that series, the first book, Shadows in the Darkness, will be out in September. I'll be starting the second book next month, with a late-summer of 2004 deadline in mind. (That gives a year's lead-time for book 2, which will be published the FOLLOWING September...) More info to follow on my website--as soon as I have the time to update it!

28 Apr 2004
To my ear, both blurbs still sounded a bit too much like breathless, back-cover copy. Additionally, they give very little real information. The example RLB gave provides the genre, the premise, the conflict, and the tone. It hits exactly the right note, and in doing so, presents his manuscript as the work of a seasoned professional.

It seems to me that you're putting too much weight on the cover letter. As RLB pointed out, there is no magic ingredient that will seize an agent's attention. Your cover letter should give the basic information in clear, error-free prose. The best way to convince an agent that you're a "talented author with a great story to tell" is to tell a great story. The agent is going to spend a lot more time on your manuscript than your cover letter, and in the end, that's what his decision will be based upon. He's a salesperson, and he's looking for marketable product. If his goal was to find you a job in marketing, he'd be more concerned with your ability to write a compelling sales pitch.

When looking for an agent, it's important to define what you expect from the relationship. To this end, I strongly recommend Richard Curtis's book How to be Your Own Literary Agent. Getting the wrong agent for you can be worse than having none at all.

A query letter can help agents screen potential clients on a number of levels. If the letter is riddled with errors, there's little reason to believe the manuscript will be any better. That alone probably weeds out more than half. On the next level, the agent can ascertain whether or not the proposed story is the sort of story he or she represents; for example, many agents don't represent young adult fiction. I'm guessing a lot of writers don't bother checking. Then there's the story itself. Perhaps the premise is simply unworkable--a vampire with HIV, for example--or too obviously derivative to be marketable. Judging from the number of emails I've received from aspiring writers who are writing their own tales about moonblade-wielding elves, agents are probably innundated with tales about perky female bounty hunters (inspired by Janet Evanavich's very successful Stephanie Plum series), good-aligned dark elves (the Drizzt books), and so on. These would be fairly easy to weed out. These criteria probably disqualify seven or eight submissions from every ten.

Agents will evaluate interesting story ideas by a number of other criteria, such as recent buying trends. For example, Arthurian fiction seems to go in cycles, and your manuscript might catch the wave and it might not. Anti-heroes seem to come in and out of favor. At present, a lot of fantasy is taking a darker tone, and a Smurfette-meets-unicorn lovefest is probably not an idea whose day has come. (Except as parody, which has possibilities...) You might have the misfortunate of proposing a story that's very similar to one a major publisher is on the verge of releasing. The preferences/needs of editors also comes into play. If an agent knows that a particular editor is looking for a hefty trilogy to market as the next big epic, he's going to read a proposal for such a tale with that particular opportunity in mind.

So yes, agents can learn a lot from a cover letter. That's why I believe letters should be concise, professional, and informative. Purple prose takes up space that could be used to convey valuable information--which is what the agent will use to make a decision.

When to get an agent?

It depends. If you're working in the shared-world sub-genre, you can get along for quite a while without one. The world of game-related fiction is a small one, and publishers are aware of who's writing what. Once you've started writing for one company, it's not too difficult to make lateral moves. There isn't much room for negotiation in most work-for-hire contracts, and some writers feel the potential benefit doesn't balance the 15% agent fee.

If you wish to expand from shared-world to "mainstream fantasy" (a designation which IMO is much akin to "jumbo shrimp," but let's not go there), an agent becomes more important, but not necessarily essential to publication. I think there's a point at which the value an agent adds is greater than the fee, but that point is different for everyone.

I chose my current agent based on my desired career path. I plan to continue writing shared-world fiction, but I am also working on other projects, including a historical novel I've been researching and writing (off and on) for over two years now. My previous writing credits won't be much help in placing a historical novel, nor do I have contacts at houses that publish such novels. At this point, I need an agent who has clients and contacts in both fantasy and historical.

One more point that is not as obvious to many aspiring writers as it might seem: don't start looking for an agent until you have a ready-to-read manuscript. I've made this mistake myself, pitching a project that was only partially completed--one that, alas, I was never able to complete. Not all good ideas evolve into good stories, and it's a Very Bad Idea to put yourself in the position of having to say, "Umm, never mind...."

On novel cover art
30 Apr 2004
Most of Fireheart's comments are consistent with my experience. It's certainly true that authors have very little input into cover art. It's also true that artists seldom have a completed manuscript in hand before they begin work. Some of them have far less information than they'd like. On the other hand, some of them simply aren't interested in depicting the characters as they are described.

On the far side of the spectrum is a very fine artist who did the covers for Evermeet and Cormyr. I met him at GenCon, and he told me he deliberately avoids reading anything about the book and characters, as he does not want anything to interfer with his own personal vision. That attitude is certainly correct for most artistic works, but it seems to me that an illustrator ought to, well, "illustrate."

TSR/WotC usually asks for "art notes," with a description of the characters and suggestions for a scene. The artist may or may not take these into account; in fact, several years ago one of the TSR editors told me that among their artists were those who refused to read even the one-page art notes. I'm inclined to believe this. For the original cover of Daughter of the Drow, an editor called me and asked for an "iconic image" that would tie the cover painting to the book. The artist knew he needed a human male and a drow female, so he painted himself and his significant other as Fyodor and Liriel, then added her spider-in-amber necklace so there would be some reference to the story. This was NOT because he did not have a detailed description--I was asked to write one and I did, including as always my contact info in case the artist wished to discuss anything. Either the artist was not given these notes, or he elected not to read them. In marked contrast to this approach is Todd Lockwood's: he was the first artist to contact me and discuss in detail the characters and their development. Some of the WotC artists might not contact authors with question, but they obviously read the art notes. Brom's depiction of Bronwyn was very close to my description.

Regarding drow skin tones. Color is a property of light, and the ebony skin of drow will show different highlights depending upon the light source. Assuming their skin does NOT change color when they're on the surface, it will still look very different viewed by moonlight as opposed to, say, the glow of Underdark lichens.

01 May 2004
My reading habits are highly eclectic, and it's hard to point to a single author, or even a single genre.

I've been researching and writing a historical novel (off and on) for over two years now, so I read stacks of 16th century history. Ditto for Arthurian novels and lore. I read historical fiction, mysteries, literary fiction. Recently I've been reading Andrew Vachss--very dark subject matter, very bleak prose, but exceedingly well done. For fantasy, I'd definitely recommend Greg Keye's The Briar King and Neil Gaiman's American Gods. Rob King's Arthurian trilogy was marvelous, especially the third book, Le Morte d'Avalon. I read a considerable amount of folklore and mythology. The most recent acquisition was a collection of Sicilian folk tales. After the Waterdeep book is finished, I'll be writing a short story about the Linchetto, the mischievous "night elves" of Sicilian folklore, and I wanted to get a feel for the flavor and pacing of the folk tales. (This story is for an anthology of tales about non-Tolkienesque elves.)

In fact, a lot of my reading is research. I read several books for the recently-published article about Richard III in Renaissance Magazine, and did considerable research into the Bohemian king Wenceslas for a short article about "Good King Wenceslas," the hero of the old Christmas carol. I've also been asked to write an article about female pirates, which is right up my alley anyway, since I've been researching the life and times of Grace O'Malley for ages.

In the Realms, I particularly enjoy the short stories by Rob King and Jim Lowder. The Finder's Stone trilogy was lots of fun, and the reason I started writing in the Realms can be summed up in three words: The Crystal Shard.

01 May 2004
The setting came first.I starting reading the FR books and game materials before I had a story idea. In fact, much of the plot evolved from intriquing, unrelated details in the lore. When reading the old gray boxed set, I noted that parts of Evereska were established about the same time that King Zaor of Evermeet died. I starting thinking about a possible connection between thess two things, and eventually came up with the idea of a magical gate to the elven island that could be moved, but not closed. The need to isolate and protect that gate would explain the fairly new elven community. A half-elf protagonist provided a bridge between the human world and the elven culture.

Waterdeep was an important part of the story, so I got familiar with that city. I also spent a lot of time with maps for such things as terrain, place names, and travel times. The various monstrous compendiums were helpful, as were the spell compendiums. Back then, I pretty much read everything that was printed in the Realms--ALL the books, ALL the game materials, comic books, DRAGON articles, you name it. While writing Elfshadow, I collected and read most of the material that had been published up to that time.

There were other influences, of course. The two-layer plot--the mystery of the Harper assassin as a cover for the political machinations of Kymil Nimesin--was a personal choice, since I'm fond of mysteries and wanted to write a mystery in a fantasy setting. Danilo was inspired by the classic adventure tale The Scarlet Pimpernel. I read this book as a child, and was intrigued by the notion of a hero who was far more than he pretended to be. Danilo's persona, however, owes more to Oscar Wilde than to Lord Percy. Rupert Everet's performance in the recent movie version of "An Ideal Husband" absolutely nailed Danilo's court persona.

09 May 2004
The books describe important events in the lifes of two characters during a time they were apart, which is why I started the books with the same scene told from different points of view. You could think of Elfsong and Silver Shadows as TV shows that run during the same time, but on different channels.

17 May 2004
The story in RoD will be "Gorlist's Dragon," and will focus on an episode in Gorlist's early life, back when he was an arena fighter in Chad Nasad.

I pitched two other story ideas to Phil Athans, the project editor, one of which was a story about Zz'Pzora set in Skullport during the timeframe covered in Daughter of the Drow. That story, tentatively titled "Discuss It Amongst Yourselves," is a comic romp similar in tone and style to the story "The Direct Approach" in the anthology Realms of Magic. When Zip got to Skullport she was ready to party, and the story describes some of the mischief she and Liriel get into during a girls' night out. The title refers both to Zip's split personality, and also to the three floating skulls that appear at random moments to mete out punishment to miscreants. One insane deep dragon with two personalities plus three pissed-off magical skulls presents a significant challenge to Liriel's ability to think on her feet. I started this story years ago and would like to finish it some day, but given my current work load I seldom have time to write something just for the fun of it. If a market for that story opens up, I'll be all over it. I'm not sure what project would best suit it--Realms of Slapstick, perhaps.

17 May 2004
Hmmm. My last couple of posts make it appear that I complete only a small percentage of the stories I start. Lest that create a skewed and unduly flakey impression, I should mention the importance of a journal, which in my case is a computer folder labled "Ideas."

When a story idea comes to mind, I open a new file and dump the thoughts into it, which preserves the ideas for possible future development and clears my mind to focus on the project at hand. Sometimes these ideas develop into a book or story, sometimes they don't. Sometimes a file might be a short description, i.e., "a story set in Roman Britain in the city of Aquae Sulis (currently known as Bath) dealing with the prayers to the goddess Minerva (prayers that were frequently curses) engraved on pewter sheets and tossed into the sacred hot springs." Sometimes it's a lengthy file that developes in bits and pieces over time, and includes plot elements, new characters, pages of dialogue, and even whole scenes. An example of this is "Restoration," an Arilyn/Danilo/Elaith story I hope to someday write, much of which came about during a fantasy con in Germany that was characterized by a freak heat wave and serious jet lag. I never knew when to sleep, and none of the hotels had air conditioning so it was too hot anyway. So I created Hamish the dwarven butler, a protocal savant with a very dark sense of humor.

17 May 2004
If I could chose FR projects, in order of preference, here's what I would do:

1) "Restoration," the Arilyn/Dan/Elaith story, which would take place directly after the events of Dream Spheres and be set mostly in Tethyr. It could deal with the restoration of Tethyr's monarachy, and would deal with some of the issues raised in the last Songs & Swords book. At the end of Dream Spheres, all of the main characters were at a point of transition. That's not where I want to leave them, and I'd like to do a book that wraps up the S&S series--not one that would preclude the possibility of future stories, but one that would move these characters to a different and more satisfying place.

2) A story focusing on Elaith, either a caper novel or a revenge story (the primary object of his vengence being Kymil Nimesin). In either story, he would learn about the existance of his son, the firstborn child of Princess Amnestria (Arilyn's mother.) The story would be set in the present, and would not delve into Elaith's path, so that he could retain much of the mystery that currently defines the character.

3) "Darkhold," a story focusing on the Zhentarim and tying up some of the loose threads in Thornhold: the fate of the young paladin Algorind, the problem of a fallen paladin within the ranks of the Knights of Samular, the true purpose of this holy order and the REAL POWER of the rings (the seige tower was simply somthing the rings animated: think of them as a battery, and the tower as a flashlight...), the custody battle over young Cara which pits Bronwyn against her brother Dag Zoreth and both of them against the elven sorceress Ashemi, the establishment (or not) of a dwarven stronghold in the fortress of Thornhold, the skeletons in Khelben's closet that put him at odds with the Knights of Samular, and the reason why Danilo has such a dim view of paladin orders. I'd also like to tie in some of the story threads into the hidden past of the Pereghost, who is rumored to be a fallen paladin and who for many years has commanded troops in Darkhold.

Yes, I'm definitely in closure mode.

18 May 2004
People frequently ask what stories I'd like to write next, or what my idea of a dream project is, and I don't see any harm in talking about such things, but I definitely don't want the folks at WotC to think I'm doing some behind-the-scenes campaigning for pet projects. In fact, one FAQ on my website is the perennial question, "If we really want to see a particular book, what should we do?" Since "Damned if I know...." didn't strike me as a judicious response, I expressed my uncertainty about the effectiveness of letters and emails, and my consequent reticent to advise people to spend time on them.

I might be wrong about this; after all, Ed Greenwood routinely tells GenCon attendees to write to WotC with their requests, then recites the mailing address. I'm not about to argue with the Creator, and that tactic may very well work for him. But he's Ed, and I'm not, and there, IMO, the matter ends.

It's "common wisdom" that most of the folks on message boards and mailing lists are hard-core fans, and not necessarily representative of the readership. Avid fans of Realms lore might express great enthusiasm for an obscure tale about some little-used race set in a remote corner of the Realms, which would cast light on an intriquing tidbit of lore; in short, something that would prompt the general readership to stay away in droves. That's where the marketing people come in--they attempt to balance the enthusiasm of the few with the tastes and interests of the many.

Over the years I've gotten much more resigned philosophical about such matters. I don't pretend to know what sells, so I leave such matters to the folks who do. My task as a shared-world writer is to find a story that interests me within the given perameters of setting, stats and rules, editorial direction, and reader interests.

20 May 2004
The name of Zip's mother never came up in the Liriel stories. I'm always hestitant to disseminate unofficial lore, but feel free to come up with your own!

I'm not involved in a D&D campaign, unless you count supplying snacks for my sons' gaming groups. I always had in mind that Sylune was trained in Rashemen, even before I started the Starlight & Shadows novels, because this seemed a reasonable explanation for her title "the Witch of Shadowdale." References to witches are rare in the Realms, and seem to be specific to Rashemen. Regarding the Waterdeep book, Ed is wonderful, funny, and unfailingly gracious, but he's not "right with me." In fact, we live in different countries, so we've discussed ideas over the phone and sent chunks of manuscript back and forth via email.

20 May 2004
In answer to your question, there are no books in the planning stage focusing on Elaith Craulnober. He does, however, have a small role in the upcoming Waterdeep book I'm writing with Ed Greenwood (release date August 2005.)

Myst, I make it a point not to comment on official gaming stats for characters from the novels. The game designers need to keep the overall picture in mind, and stats have to reflect a balance between the obscenely powerful characters and those who are merely insanely powerful.

To make matters more difficult, complex characters such as Elaith seldom fit neatly into classes and alignments, so it's all an approximation. Then you have characters such as Danilo Thann, who runs around acting like a low-level kind of guy and then, boom, he casts a spell than can move a magical gate from Evereska to Blackstaff Tower. Or he's able to cast spellsong, a complex music-based magic that, as a human, he shouldn't be able to touch. Dan specializes in being more than he appears to be. It's pretty tough to nail down a character like that in stats. If people saw stats that reflected what Dan can really do, they'd want to know why, and then I'd have to explain his backstory and how he got to be what he is. That's not something I'm prepared to do.

Basically, when it comes to describing the novel characters in stats or, conversely, keeping a novel character in line with his or her stats, novelists and game designers do the best we can. It's never perfect--games and books are too different for that--but we try to come close.

Yes, I'm aware that Elaith is dual-classed with higher wizard stats. You don't see a lot of his magical abilities in my stories, because I prefer to have Elaith do most of his magic "off stage," in keeping with the whole mysterious villain thing he's got going on. One example is when he shows up in Lucia Thione's bedchamber after disspelling all the wards and "giving the servants the night off." Elaith likes to keep a few hidden weapons and a few tricks up his sleeve, and he doesn't want people in Waterdeep to think of him as a wizard. He already has enough wealth, power, and contacts to make people uneasy. If it became common knowledge that he was a spellcaster of considerable power, I think the Waterdhavians would be less inclined to tolerate his presence in their city. He hides some of his abilities for the same reason Khelben Arunsun took on the identity of one of his descendants: so people won't realize he's as powerful as he is. As for the knives, Elaith thinks death ought to be up close and personal. Plus, knives are so nice and shiny . . .

FYI, Elaith does more magic in the upcoming Waterdeep book than we usually see him do onstage. In part, that's a response to the characterization in the FRCS 3.0. See--we do try . . .

I doubt the story of the Craulnober moonblade will ever be told. The sword is being held in trust for Elaith's daughter Azariah (please pronounce this ah-ZAH-ree-ah, NOT az-ah-REE-ah, which sounds too much like an intestinal disorder for my peace of mind...), who is being fostered on Evermeet. I'd love to do a book that's a series of novellas, one for each moonblade wielder, (or a series of graphic novels, one for each moonblade wielder!) but the Craulnober blade wouldn't be a good candidate for such treatment. (Arilyn's sword would be, though!) Azariah is still a child, and it will be many years before she comes of age and attempts to claim the family moonblade. Keeping continuity in a world as detailed and sprawling as the Realms is difficult enough when everything is written in present time. If we start setting stories in the future, we run the risk of establishing "facts" that future authors and game designers might find hard to live with. Then there's the very real possibility that anything we write about the future might be negated by rule changes. (Drow magical power and items, anyone?) At the current rate of time passage and rule revisions, it's likely that Azariah would come of age under D&D edition 47.5 or thereabouts.

24 May 2004
You're correct about the cover of Daughter of the Drow--that's Fyodor with Liriel. The second book, Tangled Webs, is my favorite of the bunch. It depicts Liriel with Hrolf the Unruly, a Ruathymaar pirate and a kindred spirit to the mischievous drow. He also became a surrogate father to Liriel, and I love the way Todd Lockwood's painting captures the relationship between Hrolf and Liriel.

There was a time under TSR when game designers would consult authors when game products dealt with the characters these authors created. I recall in particular Dale Donovan sending out pertinant sections of the old Heroes' Lorebook for author perusal and comments. Steven Schend was also terrific about such matters, and always contacted me in matters concerning "my" characters. But Dale and Steven are sterling examples of professional courtesy and attention to detail, and for that matter nifty human beings in general. WotC cannot be faulted for the decline of civilization in general, and the fact that they just don't make men like those guys anymore! Oh wait--::cues spectral voice of Obi-wan:: "There is another." Freelance game designer Eric Boyd is wonderful to work with, and during my 14-year association with the Realms I've never met anyone, excepting only Ed Greenwood himself, who approaches Realmslore with more affection, respect, and attention to detail.

If my experience is typical, the level of contact and cooperation between game designers and authors varies widely. I haven't attempted to deal with games for a while, so I couldn't tell you what the current zeitgeist is. (And if it wasn't a positive atmostphere, I wouldn't tell you anyway....)

Kuje is correct in saying that Elaith Craulnober was created by Ed Greenwood. Elaith's stats originally appeared in the old game accessory Waterdeep and the North. I kept those stats in mind while writing Elfshadow, but since Elaith was a) a mysterious character and b) a minor character, his few scenes in that book did not reflect the full scope of his abilities. More details were added in subsequent books and stories, which, as Kuje pointed out, have begun to flesh out Elaith's history and personality. I do not have my own "rival stats" for Elaith, and I wouldn't publish them online if I did. I'm fairly careful not to disseminate unofficial Realmslore, and I will not contradict anything in the game lore. The exception to this rule is the occasional outright error, an example of which would be listing Arilyn Moonblade as a Harper scout in FRCS, when she left the Harpers five years before the time frame covered in this source book. But it's one thing to say, "Oops--this small fact doesn't jive with the novel characters," and quite another to say, "Since I don't like the official version of X, here's another..."

I'd hoped to create 3.0 (this was a while back) stats for newer characters and conversions for characters who'd already been statted, send them to the folks at WotC for revision and official approval, then post them on my website as a resource for gamers. But the high-level WotC guy who approved the project moved on shortly after, and at that point I didn't have the time to figure out the new chain of command and start the approval process from scratch. An enthusiastic group of readers and gamers hashed out Liriel's stats on a designated thread on the WotC message board, and the results were slightly edited by WotC and posted on the website. It was a good process, and I'd thought about working out the characters in similar manner, one at a time. (Now, of course, on some forum other than the official WotC website...) Perhaps I'll be able to find the time to pick up this project some time in the future, but right now I've booked solid, and I've got a number of related projects--website construction, including the drow art gallery on my website--patiently waiting to suck up stray moments.

28 May 2004
One of the benefits of the Windwalker amulet was the ability to store a number of spells, including more than one casting of a particularly useful spell, to be recalled at will. During her sea voyages, Liriel spent quite a few of her waking hours learning spells, committing them to memory, and then "downloading" them in the Windwalker. This would explain the occurrence of spells more frequently than allowed in D&D stats.

And yes, we should have included fireballs in her stats. That was an oversight on my part. If this write-up is used for another source, and if I'm consulted on the matter, I'll make sure to correct this point.

30 May 2004
When Windwalker ended, Liriel had found two new companions: Thorn, a lythari warrior referred to as a Champion of Eilistraee, and Sharlarra, an elven thief and apprentice wizards. Careful readers of the recently-released game supplement The Unapproachable East picked up on the clues about Sharlarra's identity: she is a "star elf," a subrace of elves originally from the Rashemen area who long ago retreated from the world into a demi-plane. These elves now face some sort of unspecified danger in their adopted home, and have been tentatively exploring a reentry into the Prime Material Plane. They are characterized by their gold-flecked violet eyes, a nighttime increase of their powers, and a certain affinity with spirits. (This is a vastly simplified summary: see the game product for more detail.)

Here's a bit about Sharlarra's history: during one forray into the the Prime Material Plane, her family was slaughtered by slave hunters and she was captured and sold. She eventually ended up in Skullport, where she was rescued from slavery by Qilue's followers. Sharlarra made her way as a thief until she met Laerel Silverhand, who took her to Waterdeep as an apprentice wizard. Sharlarra's experience with drow made her inclined to help Liriel, whom she quickly recognized as a kindred spirit.

There is something in Sharlarra calling her back to her ancestral home, which is another reason she so quickly decided to follow Liriel and Fyodor to Rashemen. Indeed, Fyodor, who knows the old tales of his homeland, had heard tales of star elves, and he invited Sharlarra to return home with them. (Did anyone catch that passage? When he commented to Sharlarra that she would find a welcome in Rashemen, where tales are told of elven maidens with violet eyes?)

The walking hut in the Starlight & Shadow's trilogy is Baba Yaga's hut, a standard feature from Slavic folklore. There was once a gaming module by this name, as well--first edition, if memory serves.

Valondil, the novel with Ed Greenwood is a stand-alone book. There are no plans at this time for me to write a novel set in Bob Salvatore's Demon War setting. FYI, the model for Danilo on the cover of Elfshadow was a guy who worked in the mapping department of TSR at the time. Fred Fields is a very fine artist who does amazingly photo-realistic paintings. This portrait doesn't depict Danilo as I envision him, but it's an effective cover all the same.

Arion, I frequently incorporate character traits into names. "Arilyn" is an invented name that brings to mind "Ariel," which is the name of a sprite in Shakespeare's play and which in Hebrew means "lion of God." These seemed like good connotations for a fighter who wields a blade dedicated to the service of the elven people. The dwarf in Thornhold is Ebenezer, which means "corner stone" in Hebrew. A good, solid name. "Tzigone" is a Hungarian name related to the word for "gypsy," and definitely fitted the character. But in the future, I'm going to stay away from real-world names, and stick to Realms-specific names that follow more closely the patterns of nomenclature Ed Greenwood has established.

01 Jun 2004
I received in this morning's email a note that quoted a post from the RAS board, something I wrote in response to the perennial question, "What would happen if Drizz and Liriel met?" For those who might be interested in my take on the matter, here 'tis:-

Liriel: (Oo! Cute little drow toyboy! Thank you, Eilistraee, goddess of the butt-neckid moonlit dance.)

Drizzt: (Danger! Matron-in-the-making! Strengthen me, Mielikki, whose unicorn favors the chaste and virtuous.) ::draws his two scimitars::

Liriel: ::sniffs:: "Put away the cutlery, honey, and take a look at THESE twins..."

::At this inopportune moment, Catti-brie walks in, and the ensuing catfight makes the season three showdown between Buffy and Faith look like a sorority tea party.::

01 Jun 2004
To be honest, I really haven't decided. Drizzt was born in 1297 and Liriel was born in 1322, and their lives took very different paths. He went to the fighting college, she was in fosterage with the female Shobolar wizards. He left the city while she was still quite young. She would have heard of the destruction of Drizzt's house, and it's possible--possible, but not likely--that she knows one noble survived.

But if that's the case, she understands that by Menzoberranzan law, that surviver has the right to call for the destruction of the attacking house--House Baenre. Drizzt's very existance is a danger to Liriel and her family. In theory, he could return to Menzoberranzan, demand that justice be administered, and probably find enough ambitious drow that would happily seize an excuse to destroy the First House and move themselves up a notch.

With this in mind, I don't know how widespread the knowledge of his survival would be. It's the sort of thing the ruling members of Baenre would want to keep under wraps, and it's unlikely they'd share this knowledge with every member of the family--particularly someone as far out on the fringes as Liriel was.

Faerun is a big place, and information tends to remain regional. It's hard for people who are bombarded by several 24-hour news channels to imagine that Liriel may not have heard of Drizzt since she came to the surface, but that is most likely the case.