|
Christopher Paolini
BIO
Christopher Paolini was born on November 17, 1983 in Southern California. He has lived most of his life in Paradise Valley, Montana with his parents and younger sister, Angela. The tall, jagged Beartooth Mountains rise on one side of Paradise Valley. Snowcapped most of the year, they inspired the fantastic scenery in ERAGON.
Christopher was homeschooled by his parents. As a child, he often wrote short stories and poems, made frequent trips to the library, and read widely. Some of his favorite books were Bruce Coville's JEREMY THATCHER, DRAGON HATCHER, Frank Herbert's DUNE, and Raymond E. Feist's MAGICIAN, as well as books by Anne McCaffrey, Jane Yolen, Brian Jacques, E.R. Eddison, David Eddings, and Ursula K. Le Guin.
The idea of Eragon began as the daydreams of a teen.
Christopher's love for the magic of stories led him to craft a novel that he would enjoy reading. The project began as a hobby, a personal challenge; he never intended it to be published. All the characters in ERAGON are from Christopher's imagination except Angela the herbalist, who is loosely based on his sister.
Christopher was fifteen when he wrote the first draft of ERAGON. He took a second year to revise the book and then gave it to his parents to read. The family decided to self-publish the book and spent a third year preparing the manuscript for publication: copyediting, proofreading, designing a cover, typesetting the manuscript, and creating marketing materials. During this time Christopher drew the map for ERAGON, as well as the dragon eye for the book cover (that now appears inside the Knopf hardcover edition). The manuscript was sent to press and the first books arrived in November 2001. The Paolini family spent the next year promoting the book at libraries, bookstores, and schools in 2002 and early 2003.
In summer 2002, author Carl Hiaasen, whose stepson read a copy of the self-published book while on vacation in Montana, brought ERAGON to the attention of his publisher, Alfred A. Knopf, which is part of Random House. Michelle Frey, executive editor at Knopf Books for Young Readers, contacted Christopher and his family to ask if they might be interested in having Knopf publish ERAGON. The answer was yes, and after another round of editing, Knopf published ERAGON in August 2003.
After an extensive United States and United Kingdom book tour for ERAGON that lasted into 2004, Christopher returned to writing his second book, ELDEST, which continues the adventures of ERAGON and the dragon Saphira. ELDEST was published in August 2005, and was followed by Christopher's book tour throughout the United States, Canada, United Kingdom, Spain, Germany, France, and Italy.
In December 2006, Fox 2000 released their movie adaptation of ERAGON in theaters around the world.
Book Three was published on September 20, 2008. Early in 2007 Christopher realized that the plot and characters demanded more space than could fit in one volume and that a fourth book would be necessary to give each story element the attention it deserved. What began as the Inheritance trilogy became the Inheritance cycle. Book Four will complete the story that Christopher envisioned years ago when he first outlined the adventure.
Christopher is grateful to all his readers. He is especially heartened to hear that his books have inspired young people to read and to write stories of their own.
Once the Inheritance cycle is finished, Christopher plans to take a long vacation and ponder which of his many story ideas he will write next.
AUDIO CLIP
PAST INTERVIEW
September 2003
 Christopher Paolini's debut fantasy novel ERAGON recently landed in bookstores --- and on bestseller lists --- across the country. In this special interview with Teenreads.com, Paolini discusses how he created his magical land Alagaësia. The author also reveals his favorite character from his novel and shares memorable fan encounters.
TRC: Tell us how you created the land of Alagaësia. How long did it take you to develop the history, glossary of terms, and the names of your characters?
CP: I roughed out the main history of Alagaësia before I began writing ERAGON. Beyond that I usually created the details and information as needed. For example, I did not draw the map until it became important to see where Eragon was traveling, although once I did, I started to get history and plot ideas from seeing the landscape depicted.
The names of my characters and places are derived from Old Norse, German, Old English, and Russian sources, as well as from my invented languages. Picking the right name is a process that can take days, weeks, or even years. If I have difficulty choosing the correct moniker, I use a placeholder name until a replacement suggests itself.
The glossary took a few hours to compile, after ERAGON was finished.
TRC: Who is your favorite character in ERAGON? Why?
CP: That would be Saphira, the dragon. Why is a bit harder. She was always the genesis of Eragon's transformation and growth-I was thrilled by the idea of a young man becoming linked with a dragon. As I wrote Saphira, I made her the best friend anyone could have: loyal, funny, brave, intelligent, and noble. She transcended that, however, and became her own person, fiercely independent and proud.
I love writing about dragons, especially Saphira. Part of what makes her so appealing is that Eragon cares for her from the moment she hatches. That makes their relationship very different than if he had suddenly joined up with an age-old dragon. This way, they're both young and exploring the world for the first time.
Saphira is so intelligent, there were times I felt like she was looking out at me and saying, "What do you want!" It's bit frightening to be at the mercy of an imaginary creature within your own head. You have no defenses.
TRC: Can you share what readers can expect from the next two installments in this trilogy?
CP: The same breathtaking locations, thrilling battles, and searching introspection as Eragon, in addition to true love.
TRC: Why did you decide to self-publish ERAGON? How did you go about doing this?
CP: My family and I chose to self-publish ERAGON because we wanted to retain financial and creative control over the book. Also, we were excited by the prospect of working on this project as a family.
TRC: You made headlines in several genre-oriented publications for the sale of your first book and two follow-ups to Knopf/Random House. What can you remember about the day you were told Knopf wanted the books? How did you celebrate?
CP: I first heard from Knopf --- specifically my editor-to-be Michelle Frey --- while I was in Seattle at the Northwest Bookfest, promoting the original edition of ERAGON. My first reaction was one of disbelief, since I had no idea how Michelle could have heard about ERAGON. This was quickly followed by cautious optimism; after all, I had no idea what terms Knopf was willing to offer. Once I did, My family and I were screaming with excitement, a feeling that we still retain every time we look at the new ERAGON.
TRC: Your book was reviewed as a self-published title and more reviews are expected to pour in since the books is now available from Knopf. Do you read reviews of your own work? Why or why not?
CP: Yes, I read reviews of my work, although sometimes I wish that I hadn't, even when it is a good review! Why? Because everyone thinks about your work in a slightly different way, and if their views don't correspond with yours, it can be unsettling to see how your writing is interpreted. It can even make you change your writing style in an attempt to emphasize the elements that you think readers have ignored. Despite this, I continue to read reviews because I believe that it's important to know how people are affected by ERAGON, because I sometimes learn something valuable about my writing, and also because of the wonderful stories that I often hear from fans --- such as the woman who enjoyed ERAGON so much, she named her pet tarantula Saphira, after the dragon in my book!
TRC: What fantasy writers inspire you? Why? What other genres and authors do you enjoy reading?
CP: Philip Pullman, Mervyn Peake, J.R.R. Tolkien, E.R. Eddison, Garth Nix, Octavia Butler, and many, many more. I enjoy reading these authors for their interesting takes on fantasy. Peake and Eddison both use incredibly rich, inventive language; Tolkien created one of the first immersive fantasy worlds; Nix has created a great world and story; Butler's ideas are second to none; and Pullman has it all. He is a master storyteller.
I also love science fiction. DUNE, by Frank Herbert is a favorite, along with mysteries, horror, thrillers, the classics . . . anything so long as it's good!
TRC: What is it about fantasy and science fiction that speaks to so many readers on a number of levels? What does the genre "mean" to you?
CP: It's hard to attribute the success of science fiction and fantasy to any one element. Both genres are far too diverse to be able to point to just one thing and say, "This is why people love these books." However, I believe that a large part of their appeal comes from the exercise of pure imagination and flights of fancy, as well as the intellectual delight of attempting to extrapolate the evolution of technology.
I enjoy fantasy because it allows me to visit lands that have never existed, to see things that never could exist, to experience daring adventures with interesting characters, and, most importantly, to feel the sense of magic in the world.
TRC: When did you "know" you wanted to write professionally?
CP: I've known for a long time that I wanted to tell stories, with books, movies, or theater. In fact, ERAGON was originally an idea for a movie. I never intended to become an author; writing ERAGON was just a wild challenge for myself, an attempt to produce a book-length work, without any intention of publishing it. Of course, since it worked out so well, I've continued to pursue it.
TRC: What has surprised you the most about being a published author?
CP: The number of people around the country who have embraced and supported ERAGON with their incredible enthusiasm.
TRC: How have your friends, family, and local community reacted to your status as a published author?
CP: My family has done nothing but encourage and help me throughout the course of writing and promoting ERAGON. They are delighted with the book's success. Our friends and community were surprised at first when I was published, then more than happy to have another local author . . . especially one so young!
TRC: What has been your most memorable fan encounter so far?
CP: I'm particularly fond of the time when I arm-wrestled a young man to get him to read ERAGON. Fortunately I won! The most memorable event, though, has to be when Carl Hiaasen's stepson bought a copy of ERAGON in Montana and loved it so much, Carl recommended it to an editor at Alfred A. Knopf. This one incident has completely changed my life.
TRC: Due to your age and your accelerated publishing career, you have a unique history as a novelist! What writing/publishing advice do you give to aspiring writers of any age?
CP: Three simple things: Write about what excites and moves you the most, otherwise your enthusiasm will never sustain you through an entire novel; be persistent and disciplined, otherwise someone more determined will take your place; and be humble enough to accept editorial criticism and learn all you can about your craft.
TRC: In your opinion, what is the hardest part of writing a novel? Why?
CP: The hardest part is maintaining the two points I mentioned above: persistence and discipline. It's far too easy to get distracted from your work, or tire of it and find a simpler project. The true sign of a professional writer is that he or she can-and does-write every day, even without feeling inspired. Writing is not a gift from the gods. It does not spring fully formed from the author's brow. Writing is a craft, and, like any craft, you must practice, practice, practice to hone your skills. This can get boring if you feel that all you must do is connect with your muse and a new best-seller will flow forth. Alas, no. And even if you are a seasoned author and acclimated to the work of writing, it is still dangerously easy to become engaged in minor tasks that-like insidious, scaly carnivores-consume your precious minutes.
TRC: We live in a time when young people have numerous choices for entertainment. What would you like to say to people who may be hesitant about reading a book for "fun?"
CP: Books are the greatest device for transporting you into another person's mind. Movies excel at depicting action with a bit of talk, theater excels at depicting talk with a bit of action, and radio is all talk. But books can take you deeper into people's thoughts and feelings than any other media. Until we invent telepathy, books are our best choice for understanding the rest of humanity.
Back to top.
AUTHOR TALK: September 2003
Dragon Tales by Christopher Paolini
I have visions of lizards. Not little rock lizards, and not even lizards the size of alligators. No, I see gigantic, majestic flying dragons. I have visions of them all the time, whether I’m in the shower, sitting on the couch, or riding in the car. The problem with dragons is that they tend to take over your mind. That is why I was compelled to write my novel ERAGON.
The book follows the adventures of a young man, Eragon, who becomes unwittingly linked with a brilliant-blue dragon, Saphira, and thereby inherits the mantle of the legendary Dragon Riders. The tyrannical King Galbatorix, however, has no intention of letting a Rider challenge his authority, and his dark servants murder Eragon’s family. Bereft of his home and family, Eragon embarks with Saphira on a quest for vengeance.
Writing their story, I embarked on a journey of my own.
A Writer is Born
I can trace the genesis of my writing career to a library visit when I was very young. I found in the children’s section a series of mystery books with bright covers and splashy spines. I checked one out, and when I read it, it was as if something clicked in my head: all of a sudden I could hear the dialogue, I could see the characters, and I could smell their surroundings. It was like magic! From that day on, I’ve been in love with the written word.
Even at a young age I enjoyed writing short stories and poems, and though most of them were quite awful, they revealed a love of action, beauty, nature, and magic that I still have today. When I was 13 and 14, I made several stabs at writing down some of the epics I constantly daydreamed about. However, they always petered out after five or ten pages, mainly because I didn’t know what was should happen next with the characters. I realized that I needed to learn how to construct strong plots that could be sustained over the course of an entire novel.
I began educating myself with the Writers Handbook series, CHARACTERS AND VIEWPOINT by Orson Scott Card, and, most importantly, STORY by Robert McKee. Though STORY is intended for screenwriters, I found McKee’s principles and advice invaluable for structuring a novel.
With my new knowledge, I created a nine-page summary for an original fantasy novel. I pursued it no further, but the exercise provided me with much needed experience and confidence. A few months later, after graduating from high school and having decided to postpone college, I began to outline a much larger story.
The Adventure Takes Shape
I decided to make this one a trilogy. I like trilogies because they match the structure of a three-act play, and they appeal to my sense of symmetry. As I invented the world and events of the trilogy, I tried to imbue them with the elements that I enjoy most in books: an intelligent, questioning hero; lavish descriptions; exotic locations; dragons; elves; dwarves; magic; and above all else, a sense of awe and wonder. I was inspired by the work of authors such as E.R. Eddison, Raymond E. Feist, Ann McCaffrey, and J.R.R. Tolkien, along with works such as Virgil’s AENEID and Seamus Heaney’s translation of BEOWULF.
It took me a month to hammer out the main details of what was now the Inheritance trilogy. Then I sat down, put my tremulous pen to paper, and finally started book one: ERAGON. I worked sporadically at first, but as I became more and more engaged with my project, I spent as much time as I could writing. The first 60 or so pages were written in longhand, until I learned how to type.
ERAGON flowed out of me at a tremendous pace; I never had writer’s block. Part of my speed was due to the fact that I had no idea what, technically, constituted good writing, and therefore, I did not edit myself during this process. There were creative challenges, though. The elves, dwarves, and Urgals (nasty brutes) each required their own language. I based the elf language on Old Norse and invented the others. Eragon’s travels had to correspond to the distances on the map I had drawn. And the motives of each character needed to be realistic and to evolve.
By the end of 1999, I had completed the first draft of ERAGON. At last I was able to read my own book from start to finish ... and I was dismayed by how amateurish it seemed. The story was fine, but it was mired in atrocious language and grammar. I was like a musician who has composed his first aria, only to discover that he can’t perform it because he has not yet learned to sing. I set out to rewrite ERAGON with the goal of raising the language to a professional level.
I did not entirely succeed. My second draft—which took a second year (2000)—was larger than the first and bloated with far too many words. At that point, I turned the manuscript over to my parents, both of whom are published authors.
Finally, I began to benefit from real editing. Editing and revision are two of the most important tools for forging a great book. With my parents’ advice, I was able to clarify my descriptions, streamline my logic, and quicken the pace of the story so that ERAGON read the way that I had intended it to. This consumed the bulk of 2001.
My parents and I had decided to self-publish ERAGON for financial and creative reasons. Between drafts, I had illustrated the original book cover and drew the interior maps and a self-portrait for the back cover. Near the end of 2001, my dad formatted the book in Adobe PageMaker for publication. He determined how wide the text block would be, how much space would occupy the top and bottom of the pages, what the chapter titles should look like, how the cover should be designed, and much, much more. While he did that, my mom and I prepared promotional materials for book signings and other events.
© 2003 Christopher Paolini. Do not reprint without permission of Random House Children’s Books.
Back to top.
AUTHOR TALK
Christopher Paolini On Writing
Writing is the heart and soul of my being. It is the means through which I bring my stories to life. There is nothing like putting words on a page and knowing that they will summon certain emotions and reactions from the reader.
ERAGON is the first novel in the Inheritance trilogy. I started this book when I was fifteen, after several failed attempts composing other stories. It has been an incredible learning experience, and not only in writing. The greatest lesson it taught me was that clear writing is a direct result of clear thinking. Without one you cannot have the other.
ERAGON is an archetypal hero story, filled with exciting action, dangerous villains, and fantastic locations. There are dragons and elves, sword fights and unexpected revelations, and of course, a beautiful maiden who's more than capable of taking care of herself.
Within the pages of this book is a whole land, Alagaësia, for you explore. You may take fancy to Tronjheim, the city-mountain the dwarves have built, or perhaps the mysterious forest Du Weldenvarden. Either way, there are more than enough marvels here for even the most accustomed reader of fantasy.
ERAGON is the culmination of several years of intense labor. When I graduated from high school, I wanted to write a pure, dyed-in-the-wool hero story. So I immediately plotted out a trilogy based on my ideals of the archetypal maturation plot. In retrospect, it might not have been the wisest thing—undertaking such a huge project as my first book—but as they say, you can only learn through doing.
For me, the time I spend plotting out a novel is more important than the actual writing. If you don't have a good story, it's exceedingly unlikely that a good book can be pulled from the morass of ideas floating around in your brain. Typing out ERAGON was a rather straightforward affair once I had the plot firmly in hand—though I did spend some time revising Eragon and Murtagh's flight to the Varden because of some fuzzy thinking before reaching that segment.
The real torture with ERAGON came in the editing. I discovered that editing is really another word for someone ruthlessly tearing apart your work with a big smile, all the while telling you that it will make the book so much better. And it did, though it felt like splinters of hot bamboo being driven into my tender eyeballs.
I've always been fascinated with the sources of most modern fantasy that lie in Teutonic, Scandinavian, and Old Norse history. This is disregarding a large chunk of writing devoted to the myths from the British Isles. Because of this, I used Old Norse as the basis for my Elven language in ERAGON, as well as many names. All the Dwarf and Urgal words, however, are of my own invention.
The character of Angela the herbalist has an interesting story. I never intended to have anyone like her in the book, but when Eragon and Brom got to Teirm, I decided to include a lampoon of my sister, who coincidentally is also named Angela. Fortunately for my bodily well being, she has an excellent sense of humor. When Eragon is exploring Teirm, I thought that it would be wonderful to have his fortune told by a witch in the marketplace. A better idea struck me, and I sent him straight into Angela's herb shop. She turned into such an interesting person, along with Solembum, that I decided to include her in the other two books of my trilogy.
I hope that ERAGON will leave you with the same sense of wonder that I had while writing it. I do believe in magic—the magic of stories to give you wonder, awe, and revelations. Such feelings can come from small things; in a fey vision of fairy dust swirling in marble moonbeams, or at the end of an epic where a wave of emotion washes over you, sweeping away the mundane world for a moment. Either way, I hope that you find something special in ERAGON, something from the other side of the looking glass.
Enjoy the journey!
© Copyright 2003 by Christopher Paolini. Reprinted with permission by Knopf Books for Young Readers. All rights reserved.
Back to top.
|
