The rain was hard enough that it began to spit through the open window, so I rose and walked over to close it. As I laid my hand on the shutter, I looked out and saw a strange sight. Tellinor had left his room and stood now on the outer wall of the palace. He stood braced against the wind, his cape rippling behind him, staring levelly at the massed grey clouds. His sword was raised like a challenge to battle. His stood motionless, tense with concentration. His Aegenor flickered and gleamed as if he engaged in a great struggle or turmoil of his mind, and the fighting spirit within him could not help but manifest itself in the glowing light of his blade. Its erratic flashes highlighted his tall form against the dark clouds and gleamed dully on the stones of the courtyard.
It grew from there into a 518-page rough draft, filled with
characters and creatures I had not dreamed of a few months before. Although my
editing process includes many necessary cuts, this will probably remain the
longest of the three, for it tells the most comprehensive tale. Despite the
fact that the third novel will cover more chronological years, the reader must
be introduced to a mere handful of characters and geographical locations,
compared to dozens in the first book.
Working on the The
Light of Nelwinor was probably a defining turning-point in my actual
writing, though time alone will tell how important a one. It is the first novel
that I have seriously edited for publication. I have sent it to the most
people, spent the most amount of time working on it, and received the most
feedback on it, over any other work. It is an experience I will never forget.