The Rivan Codex: Ancient Texts of The Belgariad and The Malloreon. David Eddings

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      The first thing a fantasist needs to do is to invent a world and draw a map. Do the map first. If you don’t, you’ll get lost, and picky readers with nothing better to do will gleefully point out your blunders.

      Then do your preliminary studies and character sketches in great detail. Give yourself at least a year for this. Two would be better. Your ‘Quest’, your ‘Hero’, your form of magic, and your ‘races’ will probably grow out of these studies at some point. If you’re worried about how much this will interfere with a normal life, take up something else. If you decide to be a writer, your life involves sitting at your desk. This is what you do to the exclusion of all else, and there aren’t any guarantees. You can work on this religiously for fifty years and never get into print, so don’t quit your day-job.

      It was about the time that we finished Book III of the Belgariad that we met Lester and Judy-Lynn del Rey in person. We all had dinner together, and I told Lester that I thought there was more story than we could cram into five books, so we might want to think about a second set. Lester expressed some interest. Judy-Lynn wanted to write a contract on a napkin. How’s that for acceptance?

      We finished up the Belgariad, and then went back into ‘preliminaries’ mode. Our major problem with the Malloreon lay in the fact that we’d killed off the Devil at the end of the Belgariad. No villain; no story. The bad guys do have their uses, I suppose. Zandramas, in a rather obscure way, was a counter to Polgara. Pol, though central to the story as our mother figure, had been fairly subordinate in the Belgariad, and we wanted to move her to center stage. There are quite a few more significant female characters in the Malloreon than in the Belgariad. Zandramas (my wife’s brilliant name) is Torak’s heir as ‘Child of Dark’. She yearns for elevation, but I don’t think becoming a galaxy to replace the one that blew up was quite what she had in mind. The abduction of Prince Geran set off the obligatory quest, and abductions were commonplace in medieval romance (and in the real world of the Dark Ages as well), so we were still locked in our genre.

      We had most of our main characters – good guys and bad guys – already in place, and I knew that Mallorea was somewhere off to the east, so I went back to the map-table and manufactured another continent and the bottom half of the one we already had. We got a lot of mileage out of Kal Zakath. That boy carried most of the Malloreon on his back. Then by way of thanks, we fed him to Cyradis, and she had him for lunch.

      I’ll confess that I got carried away with The Mallorean Gospels. I wanted the Dals to be mystical, so I pulled out all the stops and wrote something verging on Biblical, but without the inconveniences of Judaism, Christianity, or Mohammedanism. What it all boiled down to was that the Dals could see the future, but so could Belgarath, if he paid attention to the Mrin Codex. The whole story reeks of prophecy – but nobody can be really sure what it means.

      My now publicly exposed co-conspiratress and I have recently finished the second prequel to this story, and now if you want to push it, we’ve got a classic twelve-book epic. If twelve books were good enough for Homer, Virgil, and Milton, twelve is surely good enough for us. We are not going to tack on our version of The Odyssey to our already completed Iliad. The story’s complete as it stands. There aren’t going to be any more Garion stories. Period. End of discussion.

      All right, that should be enough for students, and it’s probably enough to send those who’d like to try it for themselves screaming off into the woods in stark terror. I doubt that it’ll satisfy those who are interested in an in-depth biography of their favorite author, but you can’t win them all, I guess.

      Are you up for some honesty here? Genre fiction is writing that’s done for money. Great art doesn’t do all that well in a commercial society. Nothing that Franz Kafka wrote ever appeared in print while he was alive. Miss Lonelyhearts sank without a ripple. Great literary art is difficult to read because you have to think when you read it, and most people would rather not.

      Epic fantasy can be set in this world. You don’t have to create a new universe just to write one. My original ‘doodle’, however, put us off-world immediately. It’s probably that ‘off-world’ business in Tolkien that causes us to be lumped together with science fiction, and we have no business on the same rack with SF. SF writers are technology freaks who blithely ignore that footnote in Einstein’s theory of relativity which clearly states that when an object approaches the speed of light, its mass becomes infinite. (So much for warp-drive.) If old Buck Rogers hits the gas-pedal a little too hard, he’ll suddenly become the universe. Fantasists are magic and shining armor freaks who posit equally absurd notions with incantations, ‘the Will and the Word’, or other mumbo-jumbo. They want to build a better screwdriver, and we want to come up with a better incantation. They want to go into the future, and we want to go into the past. We write better stories than they do, though. They get all bogged down in telling you how the watch works; we just tell you what time it is and go on with the story. SF and fantasy shouldn’t even speak to each other, but try explaining that to a book-store manager. Try explaining it to a publisher. Forget it.

      One last gloomy note. If something doesn’t work, dump it – even if it means that you have to rip up several hundred pages and a half-year’s work. More stories are ruined by the writer’s stubborn attachment to his own overwrought prose than by almost anything else. Let your stuff cool off for a month and then read it critically. Forget that you wrote it, and read it as if you didn’t really like the guy who put it down in the first place. Then take a meat-axe to it. Let it cool down some more, and then read it again. If it still doesn’t work, get rid of it. Revision is the soul of good writing. It’s the story that counts, not your fondness for your own gushy prose. Accept your losses and move on.

      All right, I’ll let you go for right now. We’ll talk some more later, but why don’t we let Belgarath take over for a while?

       PREFACE: THE PERSONAL HISTORY OF BELGARATH THE SORCERER ^*

      In the light of all that has happened, this is most certainly a mistake. It would be far better to leave things as they are, with event and cause alike half-buried in the dust of forgotten years. If it were up to me, I would so leave them. I have, however, been so importuned by an undutiful daughter, so implored by a great (and many times over) grandson, and so cajoled by that tiny and willful creature who is his wife – a burden he will have to endure for all his days – that I must, if only to have some peace, set down the origins of the titanic events which have so rocked the world.

      Few will understand this, and fewer still will acknowledge its truth. I am accustomed to that. But, since I alone know the beginning, the middle, and the end of these events, it is upon me to commit to perishable parchment and to ink that begins to fade before it even dries some ephemeral account of what happened and why.

      Thus, let me begin this story as all stories are begun, at the beginning.

      I was born in a village so small that it had no name.^* It lay, if I remember it correctly, on a pleasant green bank beside a small river that sparkled in the summer sun as if its surface were covered with jewels – and I would trade all the jewels I have ever owned or seen to sit beside that river again.

      Our village was not rich, but in those days none were. The world was at peace, and our Gods walked among us and smiled upon us. We had enough to eat and huts to shelter us from the weather. I do not recall who our God was, nor his attributes, nor his totem. It was, after all, a very, very long time ago.

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