Dark fantasy novelist, Graham Austin-King, gives an inside look at his novel, Fae-The Wild Hunt. Coming soon, an inside look at the dark fantasy novel, Damastor, by Dimitri Iatrou.
Dark fantasy has been on my reading list lately, and I was reading at the coffee shop the other day when someone asked why they always see me there.
“I’m a novelist,” I replied. “Sometimes this is my office, especially when I need to focus on my work.”
“Wow! I’ve never known an author before!”
I hear this all the time. I usually laugh a little in response, because I know lots of authors. (The byproduct of working in the writing world, I suppose).
Part of the reason I know so many writers is that the process of writing, editing, and publishing fascinate me. I love discussing the thought process behind story development, the inspiration authors draw from the surrounding world, and what leads to the completion of a compelling story.
As a preview to the dark fantasy book reviews I’m writing, I’m also posting a couple of mini-interviews. Up first is Graham Austin-King, author of Fae-The Wild Hunt. Next is Dimitri Iatrou, author of Damastor, which I’m currently reading. I’ll be adding his interview in another post very soon.
But first, a quick mention:
Next, meet indie author Graham Austin-King, who “was born in the south of England and weaned on broken swords and half-forgotten spells… [his] very patient wife can arguably say her husband is away with the faeries.”
I just finished reading his dark fantasy novel, Fae-The Wild Hunt, and I was curious about the development of the story.
JJ: “What was your biggest inspiration for the first Fae novel? How does the initial concept/draft vary from the final product?”
G: “I’d wanted to do something about faeries and fae for a while. The initial idea I suppose came from a Raymond E Feist book called Faerie Tale. I haven’t read the book, but it deals with the notion of evil faeries in [the] modern day. That notion of evil, or rather non-saccharine-coated, Disney-feid faeries kind of took root and I started looking around. It’s not a new idea, faeries were genuinely feared during the middle ages and are the root of the [tradition of] nailing of a horseshoe to your door for good luck—it was simply the cheapest piece of iron around.
“Fae—The Wild Hunt was my first book and I learned a lot during the process. I didn’t do many drafts and if I had my time again I probably wouldn’t have left it with a cliffhanger ending. Thankfully the whole trilogy is complete now, so it’s easy to move beyond that.
“I don’t really plot stories out, I’d rather they take me where they want to [go]. The Riven Wyrde Saga took me to a place I’d never thought of when I started writing Fae—the Wild Hunt, but then, that’s all part of the fun.”
JJ: “If this story took place on Earth, which time period would it resemble the closest? (For example, some technology is mentioned, such as early clocks).”
G: “It’s hard to put a time period into it. Probably around the 13th or 14th Centuries, but without gunpowder.”
JJ: “If you were living in this realm, what would you do there? (Would you have a certain profession, or would you be involved in the story’s main events?) Do you take after a certain character the most, or does a certain character take after you?”
G: “If I had any knowledge of what was coming, I think I’d take up smithing and keep myself surrounded by iron all day long! I don’t think I put myself into the books, but my wife is fairly obviously present in Selena.”
For the record, the “cliffhanger ending” was perfectly crafted. It wasn’t the kind of ending that makes you frustrated, but the kind that makes you want to read the sequel. (Authors sometimes question their storytelling choices after the fact, but in this case, it’s good that Mr. Austin-King went with his gut).
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