Jeremy Wembley grabbed the broom by the handle. He took forceful steps toward the back of the room where Patrick stood unaware. Patrick paid no notice as Jeremy shortened the distance between them, and seemed completely oblivious to Jeremy’s presence.

Jeremy raised the broom just as Patrick turned around.

“I’ll sweep the stockroom now, Mr. Brenner,” he said.

Jeremy knew that if he continued to impress his boss, it would not be long before he could get that promotion—and soon after, get the real reward he desired: night manager of the Fredricksburg 7-11 on West Norton Avenue.

Unless his arch-nemesis, that kiss-up Eric Stoher got there first…

All the elements are there. There is a goal the main character wishes to reach, and an obstacle that can prevent him. There is character development and conflict.

But, you know, who gives a flying you-know-what?

The fact of the matter is that we want to read stories about people and events that are larger than life. We want to read about heroes to do great things, make clever comments, overcome great odds.

This is nothing new. The ancient Greeks didn’t do plays about the guy who cleaned the stables.

And I am no exception. My books have been about wars and world-shaping events and the heroes whose presence made a difference.

However, at the same time, I have consciously avoided the standard hero that is a mainstay of much of fiction (and especially fantasy). You know the type – the Chosen One from Prophecy who is the seventh son of the seventh son who is the only one who can wield the magic sword Noonah because he has surplus midichlorians and blah blah blah. Maybe this hero starts off the book as a nobody, but he or she ends up as the World’s Greatest Swordsman or Most Powerful Wizard by the end and thus, being superior to us lowly humans, saves the day.

In my two published novels (ARCH ENEMIES and THE AXES OF EVIL) and in a short story in the just released anthology TALES OF FORTANNIS: A BARD’S EYE VIEW, my main character is a teenager named Terin. His problem is that, thanks to a mistake, everyone thinks he’s the Chosen One Who Can Save The Day.

By the end of ARCH ENEMIES, Terin is still running when a fight breaks out and still can barely cast a minor spell. So what makes him the hero?

To me, what makes a real hero is someone who doesn’t have all those skills and yet, through bravery and intelligence, rises above what is expected and does the extraordinary. Terin is the hero because he figures out a solution – he finds a way to solve the problem that is more than merely “hitting the bad guy with the weapon until he falls down.”

I like these kinds of heroes because they remind us that we all can be heroes sometimes.

Oh, I don’t mean to knock down the more traditional heroes: I love Batman and Luke Skywalker as much as the next fan. But when I create a hero for my stories, they tend to be average people put into extraordinary circumstances who must then find something special within themselves to make things right.

In the sequel THE AXES OF EVIL, people are now thoroughly convinced that Terin has wondrous powers, even though he doesn’t. Now he’s confronted with a trio of barbarian prophecies which, he later discovers, contradict each other. On top of this, his liege wants him to get all the barbarians off his land, and a bunch of silly goblins think Terin’s the one who will lead them to victory over the evil humans who oppress them.

These are problems that cannot be resolved by being the biggest fighter. Terin solves them all by the end of the book through his cleverness and resourcefulness, and by being brave and willing to risk it all.

That, to me, is very admirable. It’s what I admire about my real life heroes (Benjamin Franklin and Martin Luther King, to name two). And it’s the kind of hero I like writing about, because I can identify with him and understand his fears and worries.

Interview with author Joel Rosenberg

MICHAEL A. VENTRELLA: I’m pleased to be interviewing Joel Rosenberg today. His first published fiction, “Like the Gentle Rains”, appeared in Isaac Asimov’s Science Fiction Magazine in 1982. The following year, he published his first novel, THE SLEEPING DRAGON which was the first in his long-running Guardians of the Flame series. The “Keepers of the Hidden Ways” trilogy similarly places people from the real world into a fantasy setting, making heavy use of Norse mythology. He’s also written in a number of other genres.

I remember reading THE SLEEPING DRAGON when it was first released, and thinking “Oh, this is interesting; a group of gamers who get sucked into another world where they must actually play their characters for real.” A few years later, I helped to found one of the first major fantasy LARPs in America. Coincidence? I think not.


VENTRELLA: Anyway, my question is this: It became clear very soon in THE SLEEPING DRAGON that this was no cute little adventure when (spoiler alert) one of the main characters dies fairly quickly. Further books in the Guardian of the Flame series also had no problem handing death to characters we have followed and loved for years. Was there anything specific you were trying to say by doing this?

ROSENBERG: Yup. What I was trying to say, explicitly, is that innocence is no shield, and that I wasn’t using any Plot Armor on my characters. Two reasons: 1. I think that makes a story more entertaining, and 2. I think it’s an important truth, for real life.

At the moment, we’re wrapping up a horrible experience — in mid-August, my wife, Felicia Herman, was falsely arrested and maliciously charged with domestic abuse of our sixteen-year-old daughter, Rachel, and it wasn’t her utter innocence — and I want to be clear: she didn’t do anything wrong, or unlawful — that caused the charges to be dropped just over a week ago, but damn good lawyering by our attorney, David Gross.

It could, absent David, easily have gone the other way.

VENTRELLA: In retrospect, do you think this willingness to kill your characters off has strengthened the popularity of your books or hurt it?

ROSENBERG: I dunno. If I had to guess, I think it’s probably hurt the popularity, but there’s so many other factors in publishing that it’s hard to say what causes any success … or failure, for that matter.

VENTRELLA: Do you have any interest in ever publishing another book in the Guardian of the Flames series?

ROSENBERG: I have to write one; that’s part of my deal with Walter Slovotsky for his collaboration on the nonfiction book in progress, FAMILY MATTERS II: GREENER’S LAW. (see http://familymattersii.com/.) Whether or not somebody publishes it isn’t my call, but I expect that the next Guardians book will find a publisher. First, though, I’ve got to finish FMII.

VENTRELLA: How were you able to sell your first book?

ROSENBERG: It was pretty straightforward. I got an agent; the agent submitted it all around; Sheila Gilbert (then at NAL) made an offer.

VENTRELLA: It has been a long time since your last published work. What happened? What have you been doing?

ROSENBERG: Firearms instruction, tech writing, political activism — you’ll find a lot about it in fmii. It’s been . . . interesting, in a Chinese Curse sense. Never thought I’d walk into Streichers — a local cop shop — and say, “Wayne, I need you to fit me out with body armor. Now.” But I did. Some of the stuff that’s been happening lately is kind of, well, close to the edge.

VENTRELLA: What clichés do you see in the fantasy genre that you hate? How do you avoid them?

ROSENBERG: I try, really hard, not to see cliches. That said, the society that seems to consist solely of muscular warriors, voluptuous barmaids/peasant girls, and evil minor nobility bugs me, so I try to avoid it.

VENTRELLA: You’ve also written science fiction and mysteries. Is there a genre you enjoy above all others?

ROSENBERG: Nah. There’s books I’ve enjoyed writing more than others — writing HOME FRONT was an utter joy, and both of the Guardians Road books had their moments, although I think they cut too close to the bone, personally.

VENTRELLA: What techniques do you use to make sure your characters are realistic and believable?

ROSENBERG: Let me give you two honest answers: 1. All of them. 2. Damned if I know. I don’t mean to be flip, although I don’t mind, but I don’t care if my characters are realistic; I care, to the point of pain, that they’re believable.

VENTRELLA: How do you prepare? Do you outline heavily?

ROSENBERG: Nah. From my POV, an outline is something an agent uses to sell a book that hasn’t been written. That’s a noble endeavor, honest, but it has nothing to do with how I write. (Dave Drake, a writer who I respect tremendously, outlines extensively; I’m not knocking the practice at all. So do Pournelle and Niven, when they collaborate.) Feist and I wrote an outline, kinda, for MURDER IN LaMUT, and then when I took my crack at the first draft, I avoided it. Well, no, that’s not true; I more bent it over a table and violated it.

VENTRELLA: A common theme in your work has to do with freedom, and the consequences (good and bad) that can come from it. What is in your background that makes you interested in this theme?

ROSENBERG: Child abuse. Receiving end. Not that that’s a secret to anybody who has read my books and noticed some similarities to, and some obvious attempts to rewrite, my own family history. (When my sister Dale read D’Shai, she wrote me: “I love it. I didn’t even mind the part where I died.”) Truth is, I’m the dog who has been beat too much, and have been, for more than forty years; writing is one of the ways I deal with it. So, for that matter, is the political activism.

Sorry about the answer, but, hey, you asked. 🙂

VENTRELLA: I always liked the idea in the Guardians series that despite the fact the main characters were the “heroes” they still had problems being elected the leaders. Do you find this a fault or a strength of democracy?

ROSENBERG: All in all, I think that a public who elects heroes is looking for trouble, and will find it. Heroes work best as dictators — temporary ones; see Cincinnatus, or, for that matter, Churchill, or Rudy G. — and then it’s best to put them back behind the glass, with the big sign that says, “In case of emergency, break glass”, and make sure that they can’t break the glass from inside.

VENTRELLA: Do you think that being a successful author has more to do with skills that can be taught, or is it more something more intangible?

ROSENBERG: Neither. I think it has to do with skills that can be learned, as opposed to being taught. On the FMII site, I’ve got partial list of my teachers, and I’ve learned a tremendous amount from all of them.

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