We’re starting the new series with an arbitrary library grab: Erin Hoffman’s Sword of Fire and Sea. Published by Pyr in 2011, it’s the first book in the now complete Chaos Knight trilogy.
The Overview: This is a high fantasy novel with a limited number of protagonists and lots of magic. Though epic in scope, it’s not epic in length or the number of characters you need to keep track of. The primary protagonists are a sea captain (Vidarian) and a fire priestess (Ariadel). The register is typical for the genre, though there is one character introduced later in the book who uses contemporary American slang. (It makes sense in the context.) There aren’t any particular linguistic adventures—the names are traditional fantasy and dialogue in concocted languages is brief.
The Plot: Old favors are called in. A journey is taken. The female protagonist is abducted and rescued. The male protagonist discovers he’s got magic (it gets complicated quickly). Ancient prophecies come to life. A gate between worlds is heavily involved in the book’s endgame (and helps set up the conflict in the subsequent volumes).
The Cool Thing to
Hoffman builds her world around elemental magic. (If you want to go reference my previous post about magic, this is pretty firmly “magic is in and of the world.”) The four classical elements all have divinities and priestesshoods. The protagonist, in the novel’s first chapter, walks across a bridge of stones held together by enchanted air. The priestesshoods are tightly wound up in the novel’s plot. Vidarian is connected to them by his grandfather’s promises.
Hoffman does a nice job reinvigorating old magical standbys. Elemental magic is nothing new, and it’s nothing new to have humans worship associated deities. (I have fond memories of elemental clerics in 2e Dark Sun, though those just worshiped the elements themselves.) What Hoffman does remarkably well is balance technicalities with the plot function of magic. She’s written a complex and deep system of competing magics and practitioners. I have a feeling that if I were to hit her up on Twitter and ask “could character X do this with her magic?,” Hoffman could answer easily. She has spent the time to figure these things out.
Letting magic play such a prominent role in the story without letting it become the story is a worthwhile achievement. Designing and understanding a complex system is tricky, especially when you are simultaneously working from scratch (as part of your worldbuilding) and with inherited tropes (like the classical elements). Hoffman displays marvelous technical chops in the way she handles the magic.
The most impressive part, I think, is that she does it without getting sucked into exposition traps. Vidarian knows almost nothing about magic, and has to have elements of it explained to him frequently. Technically, that’s exposition. Hoffman keeps those explanations brief, though. The whole novel skips agilely from encounter to encounter, never getting bogged down in the explain-y bits. (An aside: That brisk pace sometimes unbalances the progress of the plot and characterization.) A different author could have taken the same plot points and world and written a novel half again as long. She’s not at a Gene Wolfe level of explaining-without-explaining, but she makes every single bit of necessary exposition count. There’s no extraneous display of worldbuilding.
What We Nick from this Novel:
Never let characters lecture. It’s a good rule of thumb generally, but Hoffman does an excellent job of avoiding the tempting spots to turn her characters loose with exposition. If you design systems for your world, only explain the bits the characters (and readers!) have to know. Technicality is not, in itself, bad.
And oh man…I didn’t even mention the gryphons. Sword of Fire and Sea has gryphons. They’re important. And they’re cool.