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Desiring Dragons: Creativity, Imagination and the Writer's Quest
Author of The Hobbit, JRR Tolkien, talked of desiring dragons; that he would prefer a wilderness of dragons to the bleak territory of the unimaginative critic. The genre of Fantasy (including Science Fiction and its various sub-genres in TV, film & computer games) has never been more popular. This book seeks to examine why this might be and why so many are tempted to write Fantasy fiction. Tolkien suggested how 'consolation' is an important criteria of the Fairy Tale: we look at how writing Fantasy can be consoling in itself, as well as a portal to Fantastic Realms for the reader. Along the way famous dragons of myth, legend and fiction will be encountered - from Grendel to Smaug. The riddles of dragons will be tackled and their hoard unlocked.
285 pages, Paperback
First published May 30, 2014
15 people want to read
About the author
Kevan Manwaring
41 books28 followersKevan Manwaring is a prize-winning writer & lecturer in creative writing who lives on the ancient downs of Wiltshire. He is the author of over twenty books including The Windsmith Elegy series of Mythic Reality novels; Desiring Dragons, Oxfordshire Folk Tales, Northamptonshire Folk Tales, The Bardic Handbook, and Ballad Tales (ed.). He loves walking in other worlds, but sometimes he prefers to ride his Triumph motorbike.
Winner of the One Giant Write SF Novel Competition
Winner of the One Giant Write SF Novel Competition
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Displaying 1 - 4 of 4 reviews
May 22, 2014
RJ Stewart, author
Ford Madox Ford, one of Britain’s greatest writers, used say that you could find out everything about a book by going straight to page ninety-nine. I went straight to Chapter Eleven “The Man From Porlock”, and found so much of value to me, even as an experienced writer, that I said “Yes!” aloud, several times. By then Kevan Manwaring had me hooked and I had to read all of the book. Anthony Trollope was certain that writing consisted of inscribing hundreds words per day, every day. Kevan shows us, in strict but kindly and inspiring terms, how to create those hundreds of words. And if you are not a writer or creative artist, there are many insights into the imagination, the creative process, and human consciousness, in this book, reflecting upon our currently deprived culture. Page ninety-nine? Read it and discover.
Lorna Smithers | Mythic Scribes fantasy authors website
Book Review: Desiring Dragons by Kevan Manwaring
Kevan Manwaring is a writer, teacher and storyteller living in Stroud. His publications include seminal works on Bardism, a series of mythic realist novels and collections of Oxfordshire and Northamptonshire folk tales. Desiring Dragons: Fantasy and the Writer’s Quest is unique because in contrast to the plethora of ‘how to’ guides it forms a study of the creative process, examining why we write, the act of writing and its benefits to writer and reader.
The first part, ‘Desiring Dragons’ focuses on the theory of writing fantasy. Kevan says the mistake most beginner writers make is copying other writers without understanding the nature of fantasy or the act of creation. He defines fantasy as ‘the means by which we imagine and enter other worlds,’ and discloses its roots in storytelling as a shamanic tradition. The other worlds of fantasy are presented as sources of imaginative possibilities which can provide alternative perspectives on this world. By seeing this world in a different way we perceive new choices and ways of bringing about change.
I found this to be a powerful argument as all too often fantasy and imagination are equated with unreality and seen as lacking in value. By showing that fantasy fulfils the needs of individuals and society Kevan demonstrates its worth. I think this will be a great source of encouragement to other writers, particularly those doubting the value of their work because they have been told fantasy is a form of escapism or disengagement from society.
The second part, ‘The Writer’s Quest’ covers the practicalities of writing fantasy. In a striking display of originality Kevan uses Beowulf as a ‘mythic template’ for exploring the processes of creativity. Grendel’s assailment of Heorot is seen as a metaphor for the writer being haunted by the demons that drive them to write. The lake symbolizes potential and plunging into its waters the point of no return. The message of the dragon’s lair is that a writer shouldn’t sit on the gold of their word hoard because it contains the life force itself, which demands to be passed on.
What I liked most about this part is that it is enthused with Kevan’s personal experience of the exhilarating yet often nightmarish process of writing a novel. I think any writer would recognise these processes and find relief and encouragement in not being alone.
Each chapter is followed by a series of ‘questings’ prompting the writer to examine their creative processes from a different angle. ‘Summoning the Hero’ explores ways of seeing oneself as a writer. ‘The Bloody Limb’ suggests ways of looking at a first draft. ‘Needful Digressions’ calls the writer to consider whether they are harping on like the scolds do about Finnsburgh. I think these exercises will be effective as rather than telling writers what to do they call for reflection on work, creative processes and motivations.
The final part, ‘The Dragon’s Hoard’ is a collection of essays covering an eclectic range of topics ranging from mythic literacy to cultivating a daily writing practice, which is easy to dip in and out of. An essay which currently resonates with me is ‘Writing Magical Fiction.’ Here Kevan suggests good writing in this genre is rooted in experience of real magic- in the Awen (inspiration), forming living relationships with one’s muses, practicing an existing magical system and connecting with the landscape and changing seasons.
As a poet I found this book immensely valuable because rather than just examining the ‘how’ of writing it examines the ‘why’. Any form of writing is a gruelling task. Whilst the ‘how’ provides the tools, ultimately it’s the ‘why’ – our innermost desires and motivations that see us through to the end. Desiring Dragons provides ways of accessing and understanding them. Therefore I would recommend it highly to writers of all genres.
Ford Madox Ford, one of Britain’s greatest writers, used say that you could find out everything about a book by going straight to page ninety-nine. I went straight to Chapter Eleven “The Man From Porlock”, and found so much of value to me, even as an experienced writer, that I said “Yes!” aloud, several times. By then Kevan Manwaring had me hooked and I had to read all of the book. Anthony Trollope was certain that writing consisted of inscribing hundreds words per day, every day. Kevan shows us, in strict but kindly and inspiring terms, how to create those hundreds of words. And if you are not a writer or creative artist, there are many insights into the imagination, the creative process, and human consciousness, in this book, reflecting upon our currently deprived culture. Page ninety-nine? Read it and discover.
Lorna Smithers | Mythic Scribes fantasy authors website
Book Review: Desiring Dragons by Kevan Manwaring
Kevan Manwaring is a writer, teacher and storyteller living in Stroud. His publications include seminal works on Bardism, a series of mythic realist novels and collections of Oxfordshire and Northamptonshire folk tales. Desiring Dragons: Fantasy and the Writer’s Quest is unique because in contrast to the plethora of ‘how to’ guides it forms a study of the creative process, examining why we write, the act of writing and its benefits to writer and reader.
The first part, ‘Desiring Dragons’ focuses on the theory of writing fantasy. Kevan says the mistake most beginner writers make is copying other writers without understanding the nature of fantasy or the act of creation. He defines fantasy as ‘the means by which we imagine and enter other worlds,’ and discloses its roots in storytelling as a shamanic tradition. The other worlds of fantasy are presented as sources of imaginative possibilities which can provide alternative perspectives on this world. By seeing this world in a different way we perceive new choices and ways of bringing about change.
I found this to be a powerful argument as all too often fantasy and imagination are equated with unreality and seen as lacking in value. By showing that fantasy fulfils the needs of individuals and society Kevan demonstrates its worth. I think this will be a great source of encouragement to other writers, particularly those doubting the value of their work because they have been told fantasy is a form of escapism or disengagement from society.
The second part, ‘The Writer’s Quest’ covers the practicalities of writing fantasy. In a striking display of originality Kevan uses Beowulf as a ‘mythic template’ for exploring the processes of creativity. Grendel’s assailment of Heorot is seen as a metaphor for the writer being haunted by the demons that drive them to write. The lake symbolizes potential and plunging into its waters the point of no return. The message of the dragon’s lair is that a writer shouldn’t sit on the gold of their word hoard because it contains the life force itself, which demands to be passed on.
What I liked most about this part is that it is enthused with Kevan’s personal experience of the exhilarating yet often nightmarish process of writing a novel. I think any writer would recognise these processes and find relief and encouragement in not being alone.
Each chapter is followed by a series of ‘questings’ prompting the writer to examine their creative processes from a different angle. ‘Summoning the Hero’ explores ways of seeing oneself as a writer. ‘The Bloody Limb’ suggests ways of looking at a first draft. ‘Needful Digressions’ calls the writer to consider whether they are harping on like the scolds do about Finnsburgh. I think these exercises will be effective as rather than telling writers what to do they call for reflection on work, creative processes and motivations.
The final part, ‘The Dragon’s Hoard’ is a collection of essays covering an eclectic range of topics ranging from mythic literacy to cultivating a daily writing practice, which is easy to dip in and out of. An essay which currently resonates with me is ‘Writing Magical Fiction.’ Here Kevan suggests good writing in this genre is rooted in experience of real magic- in the Awen (inspiration), forming living relationships with one’s muses, practicing an existing magical system and connecting with the landscape and changing seasons.
As a poet I found this book immensely valuable because rather than just examining the ‘how’ of writing it examines the ‘why’. Any form of writing is a gruelling task. Whilst the ‘how’ provides the tools, ultimately it’s the ‘why’ – our innermost desires and motivations that see us through to the end. Desiring Dragons provides ways of accessing and understanding them. Therefore I would recommend it highly to writers of all genres.
September 6, 2023
Kevan Manwaring is a writer, teacher and storyteller living in Stroud. His publications include seminal works on Bardism, a series of mythic realist novels and collections of Oxfordshire and Northamptonshire folk tales. Desiring Dragons: Fantasy and the Writer’s Quest is unique because in contrast to the plethora of ‘how to’ guides it forms a study of the creative process, examining why we write, the act of writing and its benefits to writer and reader.
The first part, ‘Desiring Dragons’ focuses on the theory of writing fantasy. Kevan says the mistake most beginner writers make is copying other writers without understanding the nature of fantasy or the act of creation. He defines fantasy as ‘the means by which we imagine and enter other worlds,’ and discloses its roots in storytelling as a shamanic tradition. The other worlds of fantasy are presented as sources of imaginative possibilities which can provide alternative perspectives on this world. By seeing this world in a different way we perceive new choices and ways of bringing about change.
I found this to be a powerful argument as all too often fantasy and imagination are equated with unreality and seen as lacking in value. By showing that fantasy fulfils the needs of individuals and society Kevan demonstrates its worth. I think this will be a great source of encouragement to other writers, particularly those doubting the value of their work because they have been told fantasy is a form of escapism or disengagement from society.
The second part, ‘The Writer’s Quest’ covers the practicalities of writing fantasy. In a striking display of originality Kevan uses Beowulf as a ‘mythic template’ for exploring the processes of creativity. Grendel’s assailment of Heorot is seen as a metaphor for the writer being haunted by the demons that drive them to write. The lake symbolizes potential and plunging into its waters the point of no return. The message of the dragon’s lair is that a writer shouldn’t sit on the gold of their word hoard because it contains the life force itself, which demands to be passed on.
What I liked most about this part is that it is enthused with Kevan’s personal experience of the exhilarating yet often nightmarish process of writing a novel. I think any writer would recognise these processes and find relief and encouragement in not being alone.
Each chapter is followed by a series of ‘questings’ prompting the writer to examine their creative processes from a different angle. ‘Summoning the Hero’ explores ways of seeing oneself as a writer. ‘The Bloody Limb’ suggests ways of looking at a first draft. ‘Needful Digressions’ calls the writer to consider whether they are harping on like the scolds do about Finnsburgh. I think these exercises will be effective as rather than telling writers what to do they call for reflection on work, creative processes and motivations.
The final part, ‘The Dragon’s Hoard’ is a collection of essays covering an eclectic range of topics ranging from mythic literacy to cultivating a daily writing practice, which is easy to dip in and out of. An essay which currently resonates with me is ‘Writing Magical Fiction.’ Here Kevan suggests good writing in this genre is rooted in experience of real magic- in the Awen (inspiration), forming living relationships with one’s muses, practicing an existing magical system and connecting with the landscape and changing seasons.
As a poet I found this book immensely valuable because rather than just examining the ‘how’ of writing it examines the ‘why’. Any form of writing is a gruelling task. Whilst the ‘how’ provides the tools, ultimately it’s the ‘why’ – our innermost desires and motivations that see us through to the end. Desiring Dragons provides ways of accessing and understanding them. Therefore I would recommend it highly to writers of all genres.
The first part, ‘Desiring Dragons’ focuses on the theory of writing fantasy. Kevan says the mistake most beginner writers make is copying other writers without understanding the nature of fantasy or the act of creation. He defines fantasy as ‘the means by which we imagine and enter other worlds,’ and discloses its roots in storytelling as a shamanic tradition. The other worlds of fantasy are presented as sources of imaginative possibilities which can provide alternative perspectives on this world. By seeing this world in a different way we perceive new choices and ways of bringing about change.
I found this to be a powerful argument as all too often fantasy and imagination are equated with unreality and seen as lacking in value. By showing that fantasy fulfils the needs of individuals and society Kevan demonstrates its worth. I think this will be a great source of encouragement to other writers, particularly those doubting the value of their work because they have been told fantasy is a form of escapism or disengagement from society.
The second part, ‘The Writer’s Quest’ covers the practicalities of writing fantasy. In a striking display of originality Kevan uses Beowulf as a ‘mythic template’ for exploring the processes of creativity. Grendel’s assailment of Heorot is seen as a metaphor for the writer being haunted by the demons that drive them to write. The lake symbolizes potential and plunging into its waters the point of no return. The message of the dragon’s lair is that a writer shouldn’t sit on the gold of their word hoard because it contains the life force itself, which demands to be passed on.
What I liked most about this part is that it is enthused with Kevan’s personal experience of the exhilarating yet often nightmarish process of writing a novel. I think any writer would recognise these processes and find relief and encouragement in not being alone.
Each chapter is followed by a series of ‘questings’ prompting the writer to examine their creative processes from a different angle. ‘Summoning the Hero’ explores ways of seeing oneself as a writer. ‘The Bloody Limb’ suggests ways of looking at a first draft. ‘Needful Digressions’ calls the writer to consider whether they are harping on like the scolds do about Finnsburgh. I think these exercises will be effective as rather than telling writers what to do they call for reflection on work, creative processes and motivations.
The final part, ‘The Dragon’s Hoard’ is a collection of essays covering an eclectic range of topics ranging from mythic literacy to cultivating a daily writing practice, which is easy to dip in and out of. An essay which currently resonates with me is ‘Writing Magical Fiction.’ Here Kevan suggests good writing in this genre is rooted in experience of real magic- in the Awen (inspiration), forming living relationships with one’s muses, practicing an existing magical system and connecting with the landscape and changing seasons.
As a poet I found this book immensely valuable because rather than just examining the ‘how’ of writing it examines the ‘why’. Any form of writing is a gruelling task. Whilst the ‘how’ provides the tools, ultimately it’s the ‘why’ – our innermost desires and motivations that see us through to the end. Desiring Dragons provides ways of accessing and understanding them. Therefore I would recommend it highly to writers of all genres.
Read
July 25, 2016Review from Debbi McInteer, 23 April 2014
“ Dr a a g o n D r a a g on D r a a g on, “ the Dragon Whisperer calls. He calls out to all dragons, dragon lovers, dragon riders and dragon writers to join in Awen ( the welsh word for Inspiration.)
The author has been chasing dragons everywhere not to slay them but to find them, tame them and share them with the world. This book is a culmination of that quest and a treasure to share with any daring reader.
I had received an advanced copy of this lovely book because I too am a lover of dragons and desire them as well. I met the author many years ago when I was on my own quest for dragons at the time, writing and recording a film about dragons, (inspired ironically by the book The Reluctant Dragon). We met synchronistically on a dragon parade in the mystical city of Avalon on the magical Torr. The Dragon was truly alive for the moment. We have maintained a literary connection ever since. My film was stolen, and thwarted I abandoned filming and the written word for alternative expressions.
I have had the glorious opportunity, however, to see my artistic comrade excel at the written word in beautiful and fantastical ways. He has several fabulous hand crafted and inspired books in his lair. Creative writing defines his life. He is a mystical poet, an author, a bard, and a dragon whisperer.
His quest for dragons and his fearless conquering of the imagination leads up to this book, an almost encyclopedic reference to fantasy and the dragon.
As one who could be categorized in the book (pg 96) as “a wannabe” or “someday soon” it was a bit hard to get started on reading the book that seeks to engage the reader into being the writer they have wanted to be and not just the wannabe with many distractions. In fact, one could muse that the book was written about them. How could the author possibly know about my secret (pg 96) “might have been box” of writing ideas and journals that are hiding there for a “someday”?! I do have a treasure box covered with dust where I have stored poems, ideas for writing, masks and a bit of my heart. Afraid, of course that it might get stolen (as my film did) or that I would actually have to face dragons and dragon slayers, the bits remain safely covered with dust, clothes and other boxes hidden in my closet. I desire dragons but I fear the dragon slayers worse. Alas, I am not the only closet dragon lover, closet rider, closet writer and the book speaks to the universality and duality of desire and fear. Most of us have covered over our dreams with layers of physical and emotional dust and excuses of every sort.
To read the book, the reluctant dragon lover, who collects all sorts of dragon memorabilia and dresses her children as dragons whenever possible, had to dust, reorganize and steal away some time. I also had to open my own box to examine my jewels and face my own fire breathing dragons because the dragon whisperer gets in your head and not just mine.
The book is a comprehensive expose’ of fantasy and dragons. It is a bit intimidating at times as the author encourages the reader to read voraciously. There is quite a bibliography to catch up to for the closet dragon lover! It is, however, a challenge worth taking. The book touches on past dragon literature, the psychological aspects of writing, and a practical approach to fantasy writing. It invites the reader to find their own dragons and to write about them.
The first section is an informative essay on Fantasy, on Tolkien and his ideas about fantasy writing. The timing of this book coming out after the second chapter in the Hobbit trilogy, The Desolation of Smaug helps to inform the Tolkien fans on the depths of his writing and creative writing in general.
Pg 68 Tolkien warns, “Creative Fantasy, because it is mainly trying to do something else (make something new) may open your hoard and let all the locked things fly away like caged birds. The gems all turn into flowers or flames, and you will be warned that all you had(or knew) was not really effectively chained, free and wild; no more yours than they were you.”
The second section is a how to begin to write fantasy, with Beowulf, moving the story and writing along as he searches for Grendell.
Pg 94, “The monster in the night has come calling and will not leave you alone…When our soul life is repressed, the consequence is often disease, injury, unexpected trauma---our world is turned ‘upside-down’. .... The monster in the night has struck—the idea that won’t let you go, grabbing you with its claws and breathing its hot, foetid breath in your face until you write it down, tell its story. You have been hit by inspiration—although it may not feel it at this stage. No one knows when it will strike. That ‘monster’—however repugnant—is trying to tell you a message, and it will not go away until you listen. It will continue to manifest in dysfunctional ways unless you give it a voice. Unless you name your demon.”
The third sections is “the Dragon’s Hoard “ which includes essays and tips on creative/fantasy writing and some cheerleading for the faint and feint of heart.
Pg 199, “The dragon is, if nothing else, a potent symbol of the human imagination. The glittering treasure that it hoards could be seen to be the treasures of the subconscious, waiting to be unearthed. By tapping into our own creativity, we are disturbing our own dragon from its slumber. “
At best, I found the book entertaining, informative and inspiring. At worst, it was maddening that as I read, my own demons and dragons began to stir and swirl. One might muse that it was written for oneself but then one quickly realizes that many others have their secret treasure boxes and have been storing their own dragons away for centuries, “The stories untold”. The lucky few like Silmarillion get unearthed and resurrected while the others disappear with the dust.
In some ways, I have more sympathy for the dragons and their treasures that have been looted than I do for the looters. My film that was stolen was about saving the dragon and not about slaying it. I have to say that I hate that yet once again Grendell and his Mother are slayed for their treasures which are of course stolen. (The hand carved dragons stolen from my dragon inspired lady of the lake house was not taken without a fight.) The saving grace in this book , however, is that it’s a metaphorical twist on releasing the treasures from the demons/dragons in one’s mind to come to the light of day. All the dragons in one’s head and one’s box of treasures are encouraged to show their sparkle and shine. Acceptable!
I have found that dragons are about magic and the connection to them is dreaming.
The book encourages the magical dreams to take a physical form in the written word.
It is a worthy book and a worthy look at writing fantasy.
The Dragon Whisperer calls,”D r a agon D r a agon D r a agon.”
The dragon whisperer calls all the dragons, dragon lovers, dragon riders, dragon writers to share in Awen, inspiration. He does not seek to slay the dragons but instead calls us to open up our own treasure box, dust off our wings, put them on and begin the fantasy flight into writing more.
If you have heard the call of the dragon, then good luck. Good luck on taming yours and writing them. May Awen be with you.
If you choose to ignore the call, then good luck in ignoring them. You won’t be able to do so for long. Beware the tale of Beowulf, sleep will not protect your from the night. If you don’t heed the call of your own dreams, your own dragons may try to eat you alive.
Pg 195 “The Spell of the Dragon”
“The dragon’s gaze was said to be mesmeric—once we fell under it, we were hypnotized and at its mercy. Those who ‘desire dragons’ had better watch out! Dracophilia can become all-consuming passion, a burning obsession, which can cloud our judgement and drive us to extremes.”
Don’t let your tale be the lost one, never to be found/seen again.
Pg 96, “In the writers case when the monster in the night strikes, it is time to pick up the pen and start writing. Remember Fortune favors the Bold.”
Are you up for the challenge? You have been dared!
Debbi McInteer, USA, St George's Day, 23 April 2014
“ Dr a a g o n D r a a g on D r a a g on, “ the Dragon Whisperer calls. He calls out to all dragons, dragon lovers, dragon riders and dragon writers to join in Awen ( the welsh word for Inspiration.)
The author has been chasing dragons everywhere not to slay them but to find them, tame them and share them with the world. This book is a culmination of that quest and a treasure to share with any daring reader.
I had received an advanced copy of this lovely book because I too am a lover of dragons and desire them as well. I met the author many years ago when I was on my own quest for dragons at the time, writing and recording a film about dragons, (inspired ironically by the book The Reluctant Dragon). We met synchronistically on a dragon parade in the mystical city of Avalon on the magical Torr. The Dragon was truly alive for the moment. We have maintained a literary connection ever since. My film was stolen, and thwarted I abandoned filming and the written word for alternative expressions.
I have had the glorious opportunity, however, to see my artistic comrade excel at the written word in beautiful and fantastical ways. He has several fabulous hand crafted and inspired books in his lair. Creative writing defines his life. He is a mystical poet, an author, a bard, and a dragon whisperer.
His quest for dragons and his fearless conquering of the imagination leads up to this book, an almost encyclopedic reference to fantasy and the dragon.
As one who could be categorized in the book (pg 96) as “a wannabe” or “someday soon” it was a bit hard to get started on reading the book that seeks to engage the reader into being the writer they have wanted to be and not just the wannabe with many distractions. In fact, one could muse that the book was written about them. How could the author possibly know about my secret (pg 96) “might have been box” of writing ideas and journals that are hiding there for a “someday”?! I do have a treasure box covered with dust where I have stored poems, ideas for writing, masks and a bit of my heart. Afraid, of course that it might get stolen (as my film did) or that I would actually have to face dragons and dragon slayers, the bits remain safely covered with dust, clothes and other boxes hidden in my closet. I desire dragons but I fear the dragon slayers worse. Alas, I am not the only closet dragon lover, closet rider, closet writer and the book speaks to the universality and duality of desire and fear. Most of us have covered over our dreams with layers of physical and emotional dust and excuses of every sort.
To read the book, the reluctant dragon lover, who collects all sorts of dragon memorabilia and dresses her children as dragons whenever possible, had to dust, reorganize and steal away some time. I also had to open my own box to examine my jewels and face my own fire breathing dragons because the dragon whisperer gets in your head and not just mine.
The book is a comprehensive expose’ of fantasy and dragons. It is a bit intimidating at times as the author encourages the reader to read voraciously. There is quite a bibliography to catch up to for the closet dragon lover! It is, however, a challenge worth taking. The book touches on past dragon literature, the psychological aspects of writing, and a practical approach to fantasy writing. It invites the reader to find their own dragons and to write about them.
The first section is an informative essay on Fantasy, on Tolkien and his ideas about fantasy writing. The timing of this book coming out after the second chapter in the Hobbit trilogy, The Desolation of Smaug helps to inform the Tolkien fans on the depths of his writing and creative writing in general.
Pg 68 Tolkien warns, “Creative Fantasy, because it is mainly trying to do something else (make something new) may open your hoard and let all the locked things fly away like caged birds. The gems all turn into flowers or flames, and you will be warned that all you had(or knew) was not really effectively chained, free and wild; no more yours than they were you.”
The second section is a how to begin to write fantasy, with Beowulf, moving the story and writing along as he searches for Grendell.
Pg 94, “The monster in the night has come calling and will not leave you alone…When our soul life is repressed, the consequence is often disease, injury, unexpected trauma---our world is turned ‘upside-down’. .... The monster in the night has struck—the idea that won’t let you go, grabbing you with its claws and breathing its hot, foetid breath in your face until you write it down, tell its story. You have been hit by inspiration—although it may not feel it at this stage. No one knows when it will strike. That ‘monster’—however repugnant—is trying to tell you a message, and it will not go away until you listen. It will continue to manifest in dysfunctional ways unless you give it a voice. Unless you name your demon.”
The third sections is “the Dragon’s Hoard “ which includes essays and tips on creative/fantasy writing and some cheerleading for the faint and feint of heart.
Pg 199, “The dragon is, if nothing else, a potent symbol of the human imagination. The glittering treasure that it hoards could be seen to be the treasures of the subconscious, waiting to be unearthed. By tapping into our own creativity, we are disturbing our own dragon from its slumber. “
At best, I found the book entertaining, informative and inspiring. At worst, it was maddening that as I read, my own demons and dragons began to stir and swirl. One might muse that it was written for oneself but then one quickly realizes that many others have their secret treasure boxes and have been storing their own dragons away for centuries, “The stories untold”. The lucky few like Silmarillion get unearthed and resurrected while the others disappear with the dust.
In some ways, I have more sympathy for the dragons and their treasures that have been looted than I do for the looters. My film that was stolen was about saving the dragon and not about slaying it. I have to say that I hate that yet once again Grendell and his Mother are slayed for their treasures which are of course stolen. (The hand carved dragons stolen from my dragon inspired lady of the lake house was not taken without a fight.) The saving grace in this book , however, is that it’s a metaphorical twist on releasing the treasures from the demons/dragons in one’s mind to come to the light of day. All the dragons in one’s head and one’s box of treasures are encouraged to show their sparkle and shine. Acceptable!
I have found that dragons are about magic and the connection to them is dreaming.
The book encourages the magical dreams to take a physical form in the written word.
It is a worthy book and a worthy look at writing fantasy.
The Dragon Whisperer calls,”D r a agon D r a agon D r a agon.”
The dragon whisperer calls all the dragons, dragon lovers, dragon riders, dragon writers to share in Awen, inspiration. He does not seek to slay the dragons but instead calls us to open up our own treasure box, dust off our wings, put them on and begin the fantasy flight into writing more.
If you have heard the call of the dragon, then good luck. Good luck on taming yours and writing them. May Awen be with you.
If you choose to ignore the call, then good luck in ignoring them. You won’t be able to do so for long. Beware the tale of Beowulf, sleep will not protect your from the night. If you don’t heed the call of your own dreams, your own dragons may try to eat you alive.
Pg 195 “The Spell of the Dragon”
“The dragon’s gaze was said to be mesmeric—once we fell under it, we were hypnotized and at its mercy. Those who ‘desire dragons’ had better watch out! Dracophilia can become all-consuming passion, a burning obsession, which can cloud our judgement and drive us to extremes.”
Don’t let your tale be the lost one, never to be found/seen again.
Pg 96, “In the writers case when the monster in the night strikes, it is time to pick up the pen and start writing. Remember Fortune favors the Bold.”
Are you up for the challenge? You have been dared!
Debbi McInteer, USA, St George's Day, 23 April 2014
June 17, 2014
An engaging book exploring the philosophy of the fantasy genre, making the case for why fantasy should be less predictable. Kevan explores the author's creative journey and gives some realistic reflections on the nature of the industry. Not a how to book, and no promises of fame and fortune, which makes it far more valuable than the majority of books about writing.
Displaying 1 - 4 of 4 reviews