Malazan Empire: The Collected Steven Erikson Questions & Answers thread - Malazan Empire

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The Collected Steven Erikson Questions & Answers thread see note in first post for explanation Rate Topic: -----

#161 Guest_Ainudil_*

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Posted 27 July 2003 - 09:19 PM

Ah, the Lithany of Quiries Posted Image

I am intriguied, Mr Erikson, on knowing if there are going to be any clues to why the Paran syblings in particular have been forced/chosen to participate in the shaping of the world as much as they are?

It cannot be just pure chance that Ganoes, Tavore and Felisin has gotten such worldforming tasks, can it?
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#162 Guest__*

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Posted 30 January 2003 - 05:34 PM

SE,
In response to your questions, and thank you for asking them; I think what sets your work apart from most fantasy fiction is your emphasis on the human condition. It's what makes your work so compelling and I may disagree with others in that I think those of us who think it is important are in the minority. Your books aren't mere fluff written to provide an escape. I believe they challenge the reader in the telling.

As for what grabs us? That could easily be a long list and I think is answered in this forum itself; the questions raised shows you clearly challenge readers, I know I spend a fair bit of time trying to work various details out and fit them into the bigger picture.

Your ability to evoke emotion tops the list as well. I can't tell you how many scenes have brought tears to my eyes, have made me laugh out loud, have made me read passages to my partner because I've been so enthralled by the power of the words and the scenes evoked, have made me unable to pick up the book for awhile or made me have to wait some time before I can even reread a book or even a passage. To watch favorite characters (my favorite so far) like Duiker killed off (hopefully not forever) does not happen often and I think is shocking to the reader. That's what grabs me, not knowing what comes next...that feeling of give me more...someone called it the mystery and another mentioned depth of involvement. These are all things that set your work aside from other writers.

As an English Lit major, you have an incredible talent with words that inspires and awes. Kruppe and Pust are some of my favorite characters because of the way they speak and the play with words. The subtle humor never fails to bring a smile or laugh. You clearly enjoy writing and language itself, and it shows. It makes your books a pleasure to read.

While others will call your books too complex, I applaud that and the ingenuity involved, and thank you for the challenge, for making my interest in fantasy fiction worthwhile.

I also agree that we need some more copies of Blood Follows available. (Can't get it in Canada either)

Cheers
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#163 Guest_Pale Remnants_*

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Posted 03 February 2003 - 10:33 AM

Any chance of some commisioned artwork? Or illustrated special editions.

The Way Of The Exploding Fist
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#164 User is offline   Malarion 

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Posted 17 November 2003 - 05:27 PM

Ok, some more questions.

1 - Why fantasy as a genre for writing? Were you always a fan or did it just seem to allow you most scope for creativity?

2 - Does the snobbery amongst the literature world against fantasy and its authors enrage you as much it does me? So often it is sneered down upon as a thing only worthy of contempt. A case point in this is an earlier memory (when I was still a lad of fifteen). There was a section in a school book that had a few paragraphs from Donaldson's Second Chronicles of Thomas Covenant. My English teacher seemed to take great delight in mocking the imagery contained, declaring it melodramatic and fundementally ridiculous. Also (and you might be aware of this) Britain is having a poll on what is the greatest book ever. LOTR is one nomination and the (snobbish) panel took great delight in lightly dismissing that work. It was beneath them. I have many other examples of this but I will leave it at that.
What are your feelings on the matter? As a hopeful fanatsy writer I find the whole thing irritating at best, down right disrespective at worst. After all, fanatsy is mankind's oldest form of storytelling.

3 - Given your experience, do you think it might be detrimental to the chances of success (for the many hopeful authors who post on this forum) that many of our efforts are large scale projects and not single volume stories? I personally worry that this fact will be held against us. Do publishers ignore large books from unknown writers?

Thanks for your time.

ps - If you ever have the time, would you care to post tips and suggestions on the Writers section of this forum to give us the guidance we surely need. It would be very much appreciated.

Posted Image The Two-Faced Bastard
Grumpy is only my middle name.
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#165 Guest_Eliar Swiftfire_*

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Posted 11 February 2003 - 10:58 AM

Hello there! I'm from Malaysia! Anyone else from Malaysia, or am I the first Malaysian member here? (to the uninitiated, Malaysia's a rather small country in South East Asia.)

Anyway...

Mr. Erikson, you rule! Mwahahahahah! I'm so happy that I don't have to wait YEARS to get a new Malazan book! Have read all four of them, and love them all! Hell, I have to say that the Malazan series is the best fantasy series I've read since George R R Martin's Song of Ice and Fire books!

So, I heard that you really enjoyed writing Kruppe? Yeah, I love Kruppe too, in fact, he's the one who made me say 'Whoa! COOL!' when I first read Garden of the Moon, not boring old Anomander Rake. (I didn't like Rake much until Memories of Ice, where he became a little more human... and, er... funnier)

My fave characters? Well, for those who are alive. I'll pick Quick Ben, Kalam, Fid, Apsalar (best female character in a fantasy series. Ever), UNCLE Cotillion (hey, with a patron god like this, I wouldn't mind working as an assassin), Kruppe, Shadowthrone (he's cute.)

... i don't even know what to ask anymore.

((Gotta put my first post here, right?))
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#166 User is offline   Anomander 

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Posted 19 July 2003 - 04:49 PM

One question, does K'rul contain the other universe we seen that houses the jade giants? Or does he simply have all the warrens of the Malazan world in his body?

Oh, I just thought of another question. If K'rul has all the warrens in his body, then is the Malazan world a part of him? Seeing as how the world is basically Burn, and since she's a Goddess and hence is a being of magic, then would the world be a part of K'rul?

And so the First denied their Mother,
in their fury, and so were cast out,
doomed children of Mother Dark.
And so the First denied their Mother,
in their fury, and so were cast out,
doomed children of Mother Dark.
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#167 Guest_The Shadowlord_*

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Posted 06 April 2003 - 02:31 AM

SPOILERS FOR BLOOD FOLLOWS!!!!!!!!!



Hello Mr. Erikson. Another question: Is High Fist Greymane alive? In BF, Reese mentions that he was killed by his own soldiers, but in HoC the soldiers hope that Greymane will return and command them. However, supporting Reese is Dujek who mentions that the Korelri Campaign is in a shambles. So, is it just communications delay that the HoC troops don't know about Greymane's death, or is he still alive?

To see a world in a grain of sand,
And a heaven in a wild flower:
Hold infinity in the palm of your hand,
And eternity in an hour.
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#168 Guest_Adzrach_*

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Posted 06 February 2003 - 10:11 PM

hmmmm what do I like about your series?.....

In my opinion you have taken the elements of a great fantasy epic adventure and breathed new life into them. You have done things with your story that many authors do not seem capable of doing. I think that you write for yourself (with the fans in mind, mind you) and by this you have set for yourself a high level of expectation and not until you feel satisfied that you have reached that point do you then feel that the story has gone where you set out to take it....so far as you can with each novel......

Believe me when I say that I could break down all of the elements of your Book of the Fallen and sing a song of praise for all that you have done so far, but, in the end for me it just comes down to this......you are a great writer. You really are. Period. I'm not trying to brown-nose ya (shudder) but it's darn well true. You have created some of the greatest characters that I have ever encountered. You have shown me levels of power including both physical and mental, spiritual and elemental, individual and collective. You have taken plot lines and woven them throughout a few thousand pages with the skill and expertise of an ascendant weaver (heh was proud of that one). You have made for us characters that are real. They do not gleam with the tracery of greatness as they march onto a battlefield and all their foes flee before their might. You colour your characters, even stain them, with doubts, mystery, flaws and hesitation. These are all things that we ourselves can relate to in some fashion or other. You can write dialogue the way it is 'spoken' and not the way it is 'pretty to look at on paper' You create wit the way it occurs in reality and it does not seem like you write a scene in order to deliver a punch-line and if you do....well have I mentioned that great writers can somehow get away with things that others cannot?...heheh.

When you do what you did with the betrayal outside of Coral, I lay in bed reading and called out in dismay and shock, waking up my girlfriend mind you! You took me there and broke my heart.....and then you carried on with the story and you built me back up as each of my fellows (bridgeburners, Rake, Dujek, etc. etc.) learned of or witnessed what had happened and I suddenly did not feel alone with my loss. You created a scene that led to an ignoble end and closed it with grace and due respect for the characters involved. You had my interest long before. You had my respect long before. That day, as an example of what your writing means to me, you made of me a Bridgeburner and for that you now have my loyalty.

*wipes the brown off his nose* LOL

Human condition? I'll let the thespians and humanitarians and philosophers worry that bone. It's all you. If you did not have the whole package in your works they would suffer. You would have an unbalanced book with some great elements and some not so great. And as I am sure you know by now, you can't fool us that easily.

I wish you well and continued success. And I thank you for ever even putting your thoughts to a page.....well a few pages.....ah yeah thousands and counting....umm you done yet?

LOL just kidding Posted Image

Adzrach
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#169 User is offline   Gothos 

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Posted 20 January 2004 - 02:10 PM

okay so how about several more questions...

1) when will we see something more about the Krussail, Jaghut and Azath???

2) is Karsa an Ascendant now?

3) will we be seeing Togg and Fanderay in action?

I hope you will one day answer all these questions

----------------------------------------
Tread softly because you tread on my dreams.

Crown of the Deck of Dragons
It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood, who strives valiantly; who errs and comes short again and again; because there is not effort without error and shortcomings; but who does actually strive to do the deed; who knows the great enthusiasm, the great devotion, who spends himself in a worthy cause, who at the best knows in the end the triumph of high achievement and who at the worst, if he fails, at least he fails while daring greatly. So that his place shall never be with those cold and timid souls who know neither victory nor defeat.
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#170 User is offline   Gothos 

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Posted 14 May 2003 - 08:56 AM

I think that Jhistal refers to race or nationality... he was a priest of Mael, wasn't he?

----------------------------------------
Forever shall the wolf in me desire the sheep in you.
Crown of the Deck of Dragons
It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood, who strives valiantly; who errs and comes short again and again; because there is not effort without error and shortcomings; but who does actually strive to do the deed; who knows the great enthusiasm, the great devotion, who spends himself in a worthy cause, who at the best knows in the end the triumph of high achievement and who at the worst, if he fails, at least he fails while daring greatly. So that his place shall never be with those cold and timid souls who know neither victory nor defeat.
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#171 Guest_The Shadowlord_*

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Posted 31 January 2003 - 09:44 AM

i would also add me vote to the bestiary idea...

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#172 User is offline   caladanbrood 

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Posted 12 August 2003 - 06:52 AM

oh, i know that, i though you were saying Opponn said it in the books... doh!Posted Image

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O xein', angellein Lakedaimoniois hoti têde; keimetha tois keinon rhémasi peithomenoi.
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#173 Guest_Pearl_*

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Posted 11 July 2003 - 02:44 AM

ha, good to see the old chaps(waits for a well deserved slap from mr.E Posted Image) still alive, good good, hmm, what do you meen you'll answer the rest of them later, we forbid you from having a life outside of the books and this forum, just not good enouph Posted ImageJK, anyway, we'll let you off this time mr.erikson, but never again, LOL Posted Image.

Anyway, good one Mr. erikson, hope all has been well, cant wait for the books release, alas i shal be off fighting wars of my own (mainly of americas making Posted Image) by then and it shal be a welcome release, many thanks and good wishes to you for as long as you occupy this reality **rolls eyes** anyway, enouph of my babble, later Posted Image

**looks at post** im not as mad as that realy, just got a little carried away **decides to self comit himself** Posted Image

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#174 User is offline   ChrisW 

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Posted 01 July 2003 - 04:56 PM

I'll send him an email but I can't promise anything.
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#175 Guest_Arakasi_*

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Posted 17 January 2004 - 07:47 PM

Mr. Erikson,

Often I have heard you talk about Gardens of the Moon and the fact that since it was written so long before any of the other books that at times facts don't match up. As well whenever people have asked you about the series and logical inconsistencies it has been because of Gotm being the older book. So I have several questions on the first book in your series.

1) Will you ever go back and rewrite part of the book? (similar to what Stephen King did for Gunslinger)

2) Would it be possible for you to give us fans a short list of the main inconsistencies that have come up between Gardens and the next? (The one I can think of I think is what the T'lan Imass were known as before the ritual) Or have you even kept track of them?

3) Will these be addressed in the "Encyclopedia Mazalica"?

Thanks,
Arakasi

All fled, all done, so lift me on the pyre. The feast is over, the lamps expire.
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#176 User is offline   drosdelnoch 

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Posted 20 July 2003 - 04:52 AM

Hi Fortrip,
Hope this helps, its advise by Bernard Cornwell.

The first hurdle of any new writer (other than writing the book, of course) is getting a manuscript onto a real person’s desk instead of onto the slush pile (the slush pile is the vast heap of unsolicited manuscripts which turn up at all publishers’ offices and which rarely get read), and my advice has always been to find an agent - how do you find an agent? Go to your local library and consult The Writer’s and Artist’s Yearbook (or its equivalent in the US). Or subscribe to Publisher’s Weekly or The Bookseller and read the trade columns - or write to an author you like and ask for a recommendation. But do make sure you pick the right agent. There’s no point in sending fiction to an agent who only deals in non-fiction. I also object to agents who charge a reading fee. I know that many agents hate reading the vast number of manuscripts that come their way, but it’s their job, damn it, and making the writer pay them to do it is cheap.

You can, of course, approach a publisher directly. No reputable publisher will cheat you, but you will not get as good a deal as you would with an agent’s help. Publishing contracts are complicated, and if you don’t understand the minutiae of foreign rights, discounted books, blah blah blah, then you will be negotiating from a position of weakness. Agents do understand these things, and agents also know which editors are looking out for particular books and, better still, they often have more time to nurture a new writer than a publisher might have.

If you’ve written a good book you’ll have little trouble finding an agent, but what is a good book? The Historical Novel Society recently polled every publisher about what they were looking for in a manuscript and received all sorts of unhelpful replies - ‘page turners,’ or ‘best-sellers’, or ‘originality’, which is fine, but what are those things? For a first novelist, sitting at home and writing into the terrible void, it is an acute question, and I had better say right away that I do not think I can provide the answer, but hope at least to put down some markers. The cop-out response is to offer the American judge’s definition of pornography; we may not be able to define it, but we know it when we see it, but that is simply not true of manuscripts. Think how many publishers turned down Day of the Jackal? Or, more recently, Dava Sobel’s Longitude? Or, most famously, the vast number who rejected Harry Potter! We might produce the most sparkling, page-turning, original manuscript, and it can still get turned down (luckily for some of us the opposite is also true).

But there are some clues in the responses of the publishers to the Historical Novel Society’s questions. ‘An original voice’, one said, while another asked for ‘drive’, which I suppose means enthusiasm, and if you are not enthusiastic about your book then it will show. Writing is not supposed to be a labour, but a joy. I do not speak here of literature, about which I know nothing, but the business of writing readable stories, and to the best of my knowledge no-one is forced into doing that. We do it because we think it is better than working, and because it is enjoyable, and though the production of a first (and second, or twentieth) manuscript can be a very hard labour, it must not show in the finished product. Writing is fun, honest!

Which means you have to get past the horrid stage of not enjoying it, and that is usually caused by a lack of confidence. Is the stuff we’re producing up to snuff? Is the style all right? Style seems to be a stumbling block for many first novelists, and the only advice I can offer is to tell you how I overcame it. Which is not to claim that I have a fine style, only that I no longer worry about it. But when I was writing Sharpe’s Eagle I spent hours reading and re-reading the typescript, and every time I got hopelessly depressed thinking that it was no bloody good because the style was so clumsy, and so finally I tried an experiment. I typed out three pages of a Hornblower novel, substituting Sharpe’s name for Hornblower’s, and then I put the pages into a drawer. After three days I read those three pages (which looked exactly like my own typescript) and, to my relief, discovered that I was just as critical of Forester’s style as I was of my own. But he was published. More, he was successful, so clearly I was being too critical. The experience freed me of that worry. Try it yourself. Reproduce three pages of a Sharpe novel on your own typewriter or word-processor, then come back to it and see just what rubbish can get published!

Later on, when I had written two or three books, I learned that style is something that can be applied at the later stages of writing. The most important thing, the all-important thing, is to get the story right. Write, rewrite, rewrite again, and do not worry about anything except story. It is story, story, story. That is your business. Your job is not to educate readers on the finer points of Elizabethan diplomacy or Napoleonic warfare or villainous terrorist plots, your job is to divert and amuse people who have had a hard day at work. What will get you published? Not style, not research, but story. Once the story is right, everything else will follow. Rewriting is falling off a log, the hard work is getting the story. I once wrote a 12,000 word story for the Daily Mail’s Christmas editions. It took eight days to get the story right and three hours to rewrite the whole thing, and that rewrite included a brand new villain. But once the story was right the piece could take all sorts of pummelling because the story was strong enough.

Kurt Vonnegut once gave a splendid piece of advice. Every good story, he said, begins with a question. Harry meets Anne and wants to marry her. There’s the question already, will he succeed? But Harry is already married to Katharine, so there is your plot. Simple, isn’t it? And if your opening question is right, then the pursuit of the answer will propel the reader through the book. More important, it will propel the writer through the book. I know there are differences of opinion here, but I can only speak for myself and I rarely know how a book I’m writing will end when I begin it, and even when I think I know, I usually turn out to be wrong. How can you know? Every story is new, and if it is untold, how do you know the ending? You write to discover what will happen, and it is the excitement of that discovery that should give a manuscript its enthusiasm.

And once you have your story, you must keep it moving. If I could have my life over again I would rewrite the first third of The Winter King to compress the story, because when I wrote it I was too busy creating a world when I should have been keeping the characters busy. But how do you know when you’re losing pace? How do you know if one scene is too long, or whether a discursive explanation is appropriate in a particular chapter? In time it does become instinctive, and so it should, but a first novelist may well not have those instincts. In which case there is only one thing to do, something which I know a lot of professional writers did when they began, and something which rarely seems to be recommended.

Suppose you decide to build a better mousetrap. You would begin, surely, by taking apart the existing mousetraps to see how they worked. You must do the same with books. When I wrote Sharpe’s Eagle, never having written a book before, I began by disassembling three other books. Two were Hornblowers, and I forget which the third was, but I had enjoyed them all. So I read them again, but this time I made enormous coloured charts which showed what was happening paragraph by paragraph through the three books. How much was action? And where was the action in the overall plan of the book? How much dialogue? How much romance? How much flashback (I hate flashback)? How much background information? Where did the writer place it? I already knew what I liked in the books, and I was determined to provide more of that in my book, and I knew what I disliked, and wanted to use less of that, but the three big charts (sadly I’ve lost them) were my blueprints. It was not plagiarism, but it was imitation. I learned to start with a fairly frenetic scene, and to keep that pace going before I slowed it down to provide necessary information. I learned, if you like, the structure of a best-seller, and then I imposed that structure on what I was writing. These days I do not think about it any more (I should have done with The Winter King), but in the first three or four years those analyses were priceless.

Your book must have an original voice. But it will, won’t it? Because there’s only one of you, but unless you are in the posterity stakes of high-class literature, you will be producing a book that is within a recognisable genre, and you will hugely improve your chances of success if you take the time to study successful works in the same genre. Why not learn from successful authors? Disassemble their books, then set out to do better. If you worry that the long scene in your chapter four is much too long, then see how other writers tackled similar scenes in a comparable stage of their book. The answers to a lot of first novelists’ questions are already on their bookshelves, but you have to dig them out.

Research, how much is needed? The answer is annoyingly contradictory - both more than you can ever do and only as much as is needed. By that I mean that you can never know enough about your chosen period, and so your whole life becomes a research project into the 16th or 18th or whatever century it is you are writing about, but when it comes to a specific book there really can be too much research. Why explore eighteenth century furniture making if the book doesn’t feature furniture? Do as much research as you feel comfortable doing, write the book and see where the gaps are, then go and research the gaps. But don’t get hung up on research - some folk do nothing but research and never get round to writing the book.

Nothing, I suppose, can guarantee success. It seems to me that there is a great deal of luck in the whole process. I was lucky in meeting my agent (his first words to me were ‘it must be a f****** awful book’), and I was lucky in finding a publisher who understood that runaway best-sellers are rarely first novels (some are), but that if she coaxed and nagged and edited me through the first four or five then the series might be a success, and I was lucky in having a wife who was prepared to keep the wolf from the door while I wrote those first books. I am also hugely lucky, twenty -odd years later, in having the same agent, publisher and wife. So luck is important, and the publishing business is capricious, and the world is unfair, but if you understand that your job is not to be an historian, but to be a storyteller, and if you take the trouble to find out how stories are told, you can hugely improve your luck.

In the end you have to write the book. Do it, remember that everyone began just like you, sitting at a table and secretly doubting that they would ever finish the task. But keep at it. A page a day and you’ve written a book in a year! And enjoy it! Writing, as many of us have discovered, is much better than working.

----------------------------
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#177 User is offline   Lord Gordonis 

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Posted 27 November 2003 - 04:01 AM

Why did you chose to do Fantasy writing instead any other genre for example historic writing?


Cheers.

bow down to the claimer of souls
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#178 Guest__*

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Posted 15 May 2003 - 01:09 AM

Just a quick question and I'm sorry if this has been covered elsewhere, but will Mr Erikson be attending Torcon?

regs
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#179 Guest_The Shadowlord_*

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Posted 13 May 2003 - 10:23 AM

i'd advise putting MoI spoiler warnings above this. Not everyone here knows...about whiskeyjack...

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#180 User is offline   Anomander 

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Posted 07 May 2003 - 12:57 PM

The time line problem is probably due to Trull being in that warren for so long and thereby losing track of things.

And on the subject of that mysterious man in the tower, that was Urko, brother to Cartheron Crust, who is a missing member of the old guard.

And so the First denied their Mother,
in their fury, and so were cast out,
doomed children of Mother Dark.
And so the First denied their Mother,
in their fury, and so were cast out,
doomed children of Mother Dark.
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