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Christopher Paolini Q&A
(Compiled by Talita Paolini)
For easy navigation, simply click on the on any given category name and you will
be brought to that category's questions.
Home schooling
Inspiration for Eragon and Thoughts on Fantasy
The Process of Writing Eragon
Writing Eragon: The Languages
Dragons and Magic
Editing Eragon: Pre-Knopf
Self-Publishing and Promotion
Eragon: Knopf
Thoughts on Eragon's World
Writing and Promotion: Now
Assorted Comments
Italian Heritage
Advice
Parents' Comments
Home Schooling
Did you enjoy being home-schooled or was there a time when you would have liked
to go to a regular school?
I loved being home schooled. Of course there were days when I didn’t enjoy it, or
when I got into arguments with my parents, but overall, it was a wonderful and
rewarding experience. . . . I certainly wouldn’t have Eragon today if I hadn’t
been home schooled.
When did you start writing?
Growing up I wrote many small stories, the literary equivalent of doodling.
However, I only got serious about writing once I graduated from high school at
fifteen—I was home schooled my entire life.
Have you always been passionate about writing?
I've always wanted to tell stories. If I hadn't been able to support myself
through writing, I would probably be illustrating an epic or making movies or
performing on stage. As a child, I was always scribbling down adventures,
everything from living in the jungle like Tarzan to the travels of a young boy
and his dragon. . . .
Did your teachers read to you in school? If so, how did it help you with reading
or the writing process?
Since I was home schooled, my teachers were my parents. And they read to my
sister and I, usually in the evening. That was how I was introduced to Jane
Austen and Charles Dickens. Hearing those books out loud certainly helped give
me a feel for the language, as well as solidify my love for books.
What was your school experience like?
Most days I sat at my desk in the living room, reading textbooks or working on
language or math problems under my mom or dad’s supervision. It was a wonderful
experience, and I credit it for much of my success, although I also have an
extremely high regard for public schools and the teachers and librarians who run
them. They rock!
Did you have a hero as a child? If so, who was it and why?
My heroes were all of the great fantasy heroes that I read about. I wanted to be
like them when I grew up. I mean, who doesn’t want to run around fighting
monsters, saving beautiful princesses, and riding dragons?
What type of books did you read as a boy? Who inspired you? Did you have a
favorite book?
I read a huge amount of folklore while growing up, which ranged from the
Brothers Grimm to Beowulf and the Aeneid. As far as fantasy goes, I was
specifically influenced by David Eddings (the first fantasy writer that I ever
read), Andre Norton, Brian Jacques, Anne McCaffrey, Raymond E. Feist, E.R.
Eddings, J.R.R. Tolkien, Mervyn Peake, Ursula K. Le Guin, and Frank Herbert. All
of these have shaped and influenced my writing. Five of my favorite books are
the His Dark Materials trilogy by Philip Pullman, Dune by Frank Herbert, and
Anna Karenina by Leo Tolstoy.
When did you "know" you wanted to write professionally?
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.
Inspiration for Eragon and Thoughts on Fantasy
What prompted you to start writing this book?
I’m always engaged in different projects. After I graduated from high school at
fifteen, I needed something to do, so I decided to write a story. I just didn’t
know how big of a project I had tackled!
I wanted to write a story that I would enjoy reading myself, using elements from
fantasy books I had read growing up, plus ideas of my own. Stories are one of
the most important things in my life, whether in music, movies, or books, so it
was only natural that I ended up telling one of my own.
Were your parents supportive?
Extremely. I would not have the book without their support.
How did you come up with this idea for a book?
The idea for the Inheritance trilogy came from my love for the magic of stories,
and how they can transport the reader into fantastical places. I wanted to write
the sort of book that I like reading myself, using all the elements of fantasy
stories that appeal to me, in addition to some ideas of my own. Also, I was
specifically inspired by the book Jeremy Thatcher, Dragon Hatcher, by Bruce
Colville, which is about a young boy in this world who buys a stone that ends up
hatching a dragon. I loved the idea so much, I couldn’t get it out of my head.
So I asked three questions: what land would a dragon egg come from, who would
find it, and—since dragon eggs can’t be common—who else would be looking for it?
It took all of Eragon to answer those questions.
I read in an article that you like Tolkien. Did his books help inspire you with
Eragon?
I enjoyed Tolkien's world of hobbits, elves, and dwarves, and the epic quest of
the ring. Like Tolkien, I also drew inspiration from Nordic, Old English, and
Icelandic sagas.
Are you a Harry Potter fan?
Yes. I'm a great fan of J.K. Rowling. I really admire what she's done for young
adult fiction and young readers.
How are these influences processed in the creation of your own unique world?
I take what I like, ignore what I don’t , toss in my own ideas, and mix the
whole batch until I have a coherent story. It’s the same with every genre. Think
of murder mysteries. There’s always a dead body. There’s always a killer. And
there’s always someone who has to figure out the whole mess. How you tell the
story, though, determines the end result.
Why did you choose fantasy, rather than gritty reality, for your first novel?
The main reason that I chose fantasy is that I love reading it. Fantasy 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.
That said, I wrote Eragon with gritty realism. I based the landscape of my
imaginary land on my observation of the mountains and plains around my home.
And, despite the story's fantastical elements, basic human behavior never
changes, whether someone lives in a grimy castle or on the streets of New York.
Also, fantasy is the oldest form of fiction in the world. If you went back to
ancient Greece, you'd hear stories about snake-haired women and one-eyed giants.
It's fantasy, as are such great works as Beowulf, The Tempest, and Dracula.
Writing within this genre allows an author to use primeval archetypes that have
always -- and will always -- resonate with people.
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?
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.
What are your opinions of the young adult fantasy genre? What are its strengths
and weaknesses? Who are your favorite and least favorite authors from this
genre?
I love young adult fantasy. It’s thrilling, exciting, oftentimes has wonderful
writing, and at the same time can teach valuable lessons about right and wrong.
If the genre has any weaknesses, it is a tendency for older authors to write
down to children. It infuriated me when I was younger; no one should ever
underestimate what children can read if they truly enjoy it.
Some of my favorite young adult authors are Jane Yolen, Ursula K. Le Guin, Brian
Jacques, Andre Norton, Anne McCaffrey, Edgar Rice Burroughs, Roald Dahl, Robert
Louis Stevenson, Gary Paulson, and many, many others.
Least favorite?
Sorry, but I don’t bother remembering books that I don’t like.
What do you think makes a good author and a good book?
A good author is a master of the English language, a poet who feels the beat and
throb of words in his heart, a master storyteller, and someone who understands
human nature with deep empathy.
A good book sweeps me into a world of wonder and awe, stuns me with beautiful
images and phrases, has thrilling action, and gives me new insight into the
minds and hearts of people.
Why are you interested in Norse mythology?
I suppose that it's a combination of elements. On one hand I see the Nordic and
Germanic myths and sagas as providing alternatives to the ancient Greek
literature that so often dominates school curricula. Yes the Iliad and the
Odyssey are great works of fiction, but I'll take the Völsunga Saga or the
Thidrekssaga or even Beowulf (although I know that it's not strictly Nordic)
over them any time.
The other reason that I like Norse mythology is that so much of fantasy has its
roots in it. The old legends have influenced composers and writers like Wagner,
Tolkien, Tad Williams, and many others. When I began studying the origins of
fantasy, it was inevitable that I would end up reading Norse literature.
Will you say that your writing is inspired by Norse literature/mythology, and if
so, in what way?
Oh yes, the Nordic works that I've read have certainly influenced me. I've drawn
from them for descriptions and poems (in Book II, Eldest). They also helped me
to develop my land, Alagaësia, with interesting details about people and
cultures.
Language provided the greatest inspiration. I invented three languages for
Eragon, one of which—the ancient language—is based on Old Norse. I think that it
gives my world greater depth and meaning.
Where did you get the ideas for the setting of the book?
Most of my inspiration for Alagaësia, my land, comes from the landscape around
my home. I live right next to the Beartooth Mountains in Montana, which are
awesomely beautiful. In fact, I based the Beor Mountains in Eragon on them.
Writing Eragon
How long did it take you to complete your first draft and, as you wrote it, did
you know Eragon was the first book of a trilogy?
I’ve known from the start that Eragon was the first in a trilogy. In fact I
plotted out the entire trilogy before I even wrote it! That said, writing
generally takes much longer than editing—at least it should! It took me a year
to complete the first draft, another year for the second, and then part of a
third year for editing the self-published edition. The Knopf editing took
another few months.
How did you create the land of Alagaësia?
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.
Where did you get the idea for Eragon and Saphira to talk through their minds?
The idea came from two places. First of all, I grew up reading Anne McCaffrey’s
Dragonriders of Pern series, where her dragons use telepathy to share their
emotions with humans. But her dragons can’t actually speak, which I wanted
Saphira to do. Second of all, I couldn’t imagine Saphira actually speaking with
her mouth. It just seemed silly. Thus, telepathy was my only option.
How did you come up with the names of your characters in your book?
Answer 1: The names of my characters and places come from three sources. Some of
them are invented through jokes or word-play, such as Eragon, which is dragon
with one word changed, or Saphira, which is a play on sapphire, though they are
pronounced quite differently. The rest of my names either come from my invented
languages—like Isidar Mithrim—or are derived from real languages, such as Old
Norse, German, Old English, and Russian. Galbatorix, for example, is from Welsh.
Torix means king and galba means big. Thus he’s the big king, which works
perfectly. 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.
Are you Eragon in your books? If so, why?
When I first invented Eragon, he was me. Writing about yourself is probably one
of the easiest things for a fifteen-year-old author to do. However, I found that
as the story progressed and Eragon did things that I've never done—such as
fighting monsters and flying a dragon—he evolved into his own character, which
I'm very happy about.
What , if any, deeper issues are you trying to address or put across throughout
the book?
What is the meaning of life? Why are we here? How can we live honorably in this
world or in another? All great literature deals with these questions, and I
attempted to answer them in my own way in Eragon. For me, writing is a way to
explain the world.
How long did it take you to write the book? What were the high and low points of
the process? Did you ever think about giving up? If so, what prevented you from
doing so?
It took me a year to write the first draft of Eragon, a year to write the second
draft, and a third year to edit the manuscript. The high points, I think, were
seeing a story that I had dreamed and planned about coming alive on the page and
then actually finishing the book; nothing can compare to that feeling!
The low points came during the editing, when I wasn’t sure if I could finish the
book and if it was any good. And I wondered what would happen even if it was
finished. When those doubts consumed me, I nearly abandoned Eragon. Several
times, in fact, it was only my parents’ encouragement that persuaded me to
continue. They thought that I had something worthwhile and that I should finish
it. How could I ignore them?
When you first wrote Eragon, did you ever think that it would get this far?
When I wrote Eragon, I was just trying to write a story that I would enjoy
myself—not to get it published, and not for someone else to read. Later on, I
did hope that enough people would enjoy and buy Eragon to allow me to continue
to write, but I never expected it to reach the levels that it has. It’s amazing!
Writing Eragon: the Languages
How did you came up with the different languages?
When I was writing the first draft for Eragon, I needed to invent a word that
meant fire; it was supposed to come from an “ancient language” that is always
used with magic. Since my parents owned a dictionary of word origins, I pulled
it off the shelf and flipped through it. Eventually I found an obscure Old Norse
word, brisingr, that meant fire, and I loved it so much, I decided to base the
rest of my language on Old Norse. To find more words, I went online and dug up
various Old Norse dictionaries, although I have been known to invent a word now
and then when the story requires it! As far as the grammar and pronunciation of
my “ancient language” go, they bear absolutely no resemblance to Old Norse as I
wanted to give it my own twist.
The other two languages I created for Eragon were worked up completely from
scratch. They are much more complex and complete than the “ancient language”.
For these two, I went went online, where I found several excellent sites on how
to construct realistic imaginary languages. These have proved invaluable.
Even though my languages began as a lark, a hobby, within Eragon, I eventually
realized that they gave it a depth and range that would have been lacking
otherwise. They also made my various cultures much more believable. I learned
more about grammar, pronunciation, and how our language works than I ever
thought I wanted to.
It has enriched my use of English, which is a wonderful thing for a writer.
Dragons and Magic
Who is your favorite character in Eragon? Why?
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.
Do you think dragons ever actually existed?
No, I don't, since we have never discovered any evidence (fossils or other
remains) that would indicate that they are other than a figment of our
imagination. However, I do think that dinosaurs are the closest things to
dragons to ever walk the earth.
Did you do any research into dragons for your book?
Again, no. My personal vision of dragons was compiled from the books I read
about them growing up, such as The Pit Dragon Trilogy by Jane Yolen, The Hobbit
by J.R.R. Tolkien, Anne McCaffery's Dragonriders of Pern series, Jeremy
Thatcher, Dragon Hatcher by Bruce Coville, plus some ideas of my own. I never
felt any need to do research beyond that.
Do you think magic happens in our world? If not, do you wish it did? Why?
I don't believe in magic, and I'm very, very glad that it doesn’t exist. Why
don't I believe in it? Well, the main reason is that I've never seen the laws of
nature broken. Also, no one has ever been able to perform magic while under
strict scientific observation.
And if magic were real, think about what a scary world we would live in. There
would be people walking around who could read your mind and influence your
actions—for good or for ill—without you ever knowing. Our money would be
worthless because alchemists could turn lead into gold. It would be impossible
to enforce the law when magicians could mouth a spell and kill a hundred
policemen at once.
Our ancestors held these beliefs, and it led to people being so afraid that they
burned tens of thousands of innocent people for being witches and wizards.
The world is a much happier place without magic.
Editing Eragon: Pre-Knopf
Did you ever think there was no way this book would be any good because you were
too young?
There were plenty of times I thought the manuscript was a horrible mess
that no one would want to see, but I never attributed it to my age, only my
inexperience at writing. Never blame yourself for what's beyond your power
to change.
Did you have to do a lot of work re-drafting and editing your story?
When I finished the first draft of Eragon, which took a year to write, I
sat down and read it through for the first time. As you can imagine, I was
pretty excited. However, I quickly realized that the manuscript was
unpublishable. The story was there, but the technical aspect of the writing
needed serious help.
I spent a second year and rewrote the book, fleshing out the dialogue and
the characters and the descriptions. At the end of the second year, I gave
Eragon to my parents, neither of whom had read it before. Fortunately, they fell
in love with the story and decided to help me publish it through our family
company. Before that happened, we spent a third year editing the book—again, not
the story, only the mechanics of my writing—and preparing it to go to press.
After a fourth year spent marketing the book around the U.S., Eragon was
acquired by the publisher Alfred A. Knopf and—yep, you guessed it—I went
through another round of editing with the wonderful Michelle Frey.
I'm grateful that I received all that editing, since I learned so much from
it. It was like attending an intensive, one-on-one writers course for a
solid year-and-a-half. And it's made my writing much stronger; the first
draft of Book II, Eldest, reads better than the final draft of Eragon.
Self Publishing and Promotion
Why did you decide to self-publish Eragon? How did you go about doing this?
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.
What were some of things you did to promote the self-published version?
Dressed in medieval costume, I did over 135 events across the country, at
bookstores, schools, and festivals. Promoting Eragon became the family business:
books sold meant food on the table, so we were incredibly determined.
We started by doing book signings in bookstores, but quickly learned that no one
shows up for an author they have never heard of. I was very determined, and
would stay for eight hours straight and talk to every person who came in the
store and try to sell them a book. On a good day, I might sell forty books.
That’s not bad for a signing, but it’s a lot of work.
I then learned that if I went into a school and did a presentation, in one day
we could sell 300 books or more, and inspire students to read and write, so I
concentrated on that. We also started charging a fee for the presentation, to
help cover travel expenses.
My dad and I made two trips to Houston, where my grandmother lives. I called
numerous school librarians and spoke to them about my book and presentation.
They didn’t know who I was, so it took a bit of persuading, but I managed to
arrange to visit several schools, along with a few bookstores, that first trip.
One of the librarians posted an enthusiastic recommendation of my presentation
to an online teachers’ forum, so by the time we returned home to Montana, my mom
already had a second trip to Texas planned, and I didn’t have to do any cold
calls. That second trip was a solid month long, with three or four hour-long
presentations every single day.
You self-published first. How did you then place the book with a traditional
publishing house?
There are 150,000 books published each year, and only a small percentage are
ever successful. We originally self-published Eragon because we wanted to keep
creative control of the design and content of the book, and, after all the work
we put into it, we didn’t want to see it appear in bookstores for a few weeks
and then be remaindered.
Eragon did so well that it came to the attention of two large publishers. When
Knopf approached us, it turned out to be the perfect marriage of marketing and
timing because we could not take the sales to the next level without duplicating
the process a large publishing house uses—the distribution system, the
marketing, and promotion. Once Knopf showed us they would give the book the
marketing attention we hoped for, we were happy to have them take Eragon off our
hands. It’s worked out wonderfully for both of us.
Eragon: Knopf
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?
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.
How did you find your agent?
It was October 2002 when we were approached by Knopf. My dad and I were in
Seattle for the Northwest Bookfest, and doing events in schools and bookstores,
when I received an e-mail from my editor-to-be at Knopf. We were cautiously
optimistic. Then two days later we were approached by Scholastic with a
competing offer. At first we thought that we could negotiate the deal ourselves.
But after speaking with the publishers, we changed our minds; we were smart
enough to realize that there was a lot we didn’t know about publishing deals,
rights, and contracts.
My father, who is active on several online publishing lists, asked the groups
for advice on how we should proceed. Should we get an agent?
One of the people who responded to the post recommended Simon Lipskar at Writers
House in New York. My dad did what you are never supposed to do: found Simon’s
phone number online and called him directly. He got Simon’s voice mail and said,
“You don’t know me, but here’s what we’ve done, here’s what my son has done, and
we have these two offers. Are you willing to represent us?”
Ten minutes later, Simon called back. “Overnight me the book. If I like it, then
YES!” He turned out to be a wonderful choice.
After Knopf decided to publish Eragon, what was that editorial process like? How
long did it take?
The editing that I did with Michelle Frey at Knopf was considered a light edit.
That means that the story was not altered and no rewrites were needed. It was,
however, a comprehensive review of each word, sentence, and paragraph, to make
sure my ideas were expressed as clearly as possible and that the grammar was
correct. Descriptions that slowed the story were eliminated, and the beginning
of the story streamlined.
Are there significant differences between the two editions? If so, can you give
us a couple of examples?
The Knopf edition is about 20,000 words shorter than the self-published edition
of Eragon. One example of what we did is when Eragon travels from the city of
Gil’ead to the mountain Farthen Dûr. Originally, during this trek, there was an
episode where Eragon and his companions cross a small river by the town of
Bullridge and encounter some soldiers. This was removed because it slowed the
pace of the story and essentially copied the later episode where Saphira flies
the party over the Ramr River.
Thoughts on Eragon’s World
Would you rather live in Eragon's world or ours?
Oh, I definitely prefer our world. I'd hate to break an arm or get a tooth
pulled in Alagaësia, not to mention that I wouldn't be able to find glasses
anywhere if I broke mine! Besides, Alagaësia is a dangerous, war-torn land that
you would do your best to avoid if you want to stay alive.
What is the best thing about Eragon's world?
The same thing (or things) that are good about our world: kindness between
friends and strangers, loyalty, honor, a chance to right injustice, and some of
the most stunning scenery ever to be found.
Writing and Promotion: now
With your dedication to promotion, how do you find time to write?
It has been a challenge juggling promotion with writing Eldest, Book II in the
series. I’m still trying to figure out how to strike that balance. The publisher
is aware that if they don’t give me time to write, they won’t get the book. I’m
going on a ten-city book tour tomorrow, for another round with Eragon, but after
that I will have a number of months free for writing.
You wrote Eragon for yourself, on your own schedule. What’s it like now, writing
with a contract and on a publisher’s schedule?
Despite those pressures, I still try to write for only one reader . . . myself.
If I can’t please myself first, I might as well give up. That said, I do have a
greater sense of responsibility toward the story, as the result of all the fans
who have been so deeply touched by Eragon. For their sake, I will do my best to
make sure that Eldest is even better.
Some writers discipline themselves by saying they have to sit there and write
for three hours without interruption, or produce 2000 words a day. What is your
approach?
I just try to work as long as possible. I’m not the fastest writer in the world,
so I have to keep at it consistently or I don’t get anywhere.
Why do you like to write?
Because I love stories, and I want to tell them. I want to write so beautifully
and poignantly that I bring tears to your eyes. I want you to feel as if you
have experienced true magic, as if you have stood beneath a glittering night sky
and watched a dragon swoop past overhead, as if you have seen an endless forest
filled with ancient mysteries or a fairy standing on your finger. I want to
leave you with nothing but a sense of awe and wonder.
How does it feel to become a famous author at such a young age?
Amazing! I never expected Eragon to be published, much less to become such a
success. Most days I walk around the house shaking my head, amazed that all of
this has happened to my family and me. And I'm humbled that so many people have
enjoyed Eragon.
Why do you think that people like your book?
Because I tried to write the type of book that I enjoy reading myself, with
dragons, battles, dwarves, elves, magic, villains, and romance. I tried to
capture a sense of awe and wonder, so that when a reader reaches the last
chapter, the last page, and closes the book, he or she goes, "Wow!" Also, the
book appeals to all ages: there's action for those that want action, but there's
also a deeper level of introspection as Eragon deals with the big questions in
life.
How have your friends, family, and local community reacted to your status as a
published author?
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!
What had been the biggest impact on your family from having such great success
with Eragon?
Personally, I’ve ended up traveling a tremendous amount. I did an entire year of
promotion with the self-published version of Eragon, then a couple of book tours
with Knopf. It’s fun to meet the fans, booksellers, librarians, and teachers who
have loved and supported the book. But it is stressful being on a book tour
because you can’t take much time to enjoy the places you visit. It’s a pretty
rushed schedule.
As far as the family at large, I would say the biggest change is the amount of
attention we get from people who want books signed or advice, and dealing with
the business side of publishing. Also, the financial security that has come with
Eragon’s success has removed a lot of worries.
I remember when I had a choice of pursuing my art—I drew the map and the dragon
eye for Eragon—or my writing. I chose writing because I didn’t want to become a
starving artist. What I didn’t realize is how many starving writers there are.
Fortunately, that’s not a worry I have right now.
What has been your most memorable fan encounter so far?
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.
After the third book in the series is completed, do you think you will be
finished with the fantasy genre and work in another one?
I don’t know. I do have an affinity for fantasy. I have about thirty books
plotted out that I want to write, spanning all different genres. If you’re going
to be trapped in a genre, fantasy isn’t a bad one to be trapped in, simply
because it’s so broad. But I want to write other types of fiction. Hopefully, my
fans will be interested enough in what I’m doing to follow me from one genre to
another.
Fantasy, especially epic fantasy, is good training for writing about other
subjects. In order to create a realistic world, you have to describe so many
facets of life, that when it comes to this world, you’ve already dealt with many
of the same themes.
Assorted Comments
How do you feel about being on the Children’s Bestseller List rather than the
overall list?
It doesn’t really bother me, especially since novels for young adults are
selling so well. But I don’t think of Eragon as a young adult novel. I wrote the
best and most mature novel I could at the time. Anyone who read Lord of the
Rings or Harry Potter and enjoyed those would enjoy Eragon.
Although many of my fans are children and teens, I have lots of adult fans, too.
I think classifying Eragon as young adult was a marketing choice that has worked
out very well.
Is there anything you wish to add about your tremendous success?
I’m very grateful to all the teachers, librarians, booksellers, and fans who
have supported the book. Because without their support, none of this would have
happened. Some people look at the success of Eragon as though it was handed to
me. They don’t realize the amount of work that went into it. The success was the
result of 90% work and 10% luck.
What other interests do you have other than writing?
I love to hike and camp as often as possible. In my spare time I draw—I did all
the interior artwork for Eragon. I also paint, make my own knives, swords, and
chain mail armor, and generally do anything I can to get my mind off writing for
a time.
Why and where did you buy the Stiklestad sword replica?
The sword that I bought is a battle-ready replica of a Viking sword from the
battle of Stiklestad in 1036 A.D. I got the sword because I've always had a
fascination for arms and armor, and because I figured that as a fantasy writer,
I really ought to have at least one sword. The blade was purchased from Museum
Replicas, a company that sells museum-grade replicas of clothing, dishes, arms,
and armor from various periods of history.
http://66.0.193.113/cgi-bin/www11650.storefront
Do you plan on going back to school?
Not at this time; maybe some time in the future. For now, I'm being paid to do
what I love, and I hope to continue telling stories for many years to come.
Italian Heritage
Can you comment on your Italian background?
I'm proud to be of Italian heritage.
Have you ever been to Italy, and do you have relatives or connections there?
I have not been to Italy . . . yet. I'm looking forward to visiting soon.
[Update on April 12th, 2006: Christopher has visited Italy since writing this
Q&A.]
My grandfather on my father's side was born and raised in Rome and south of
Bologna. My two uncles and their families still live there. Threads of Italian
culture, such as love of the arts, a strong family, speaking one's mind, and
Mamma's good home cooking tie me to my Italian heritage.
Advice
What advice do you have for struggling readers or writers?
When I was very young, I actually hated read! In fact, I remember marching up to
Mom and saying, “I’m never going to use reading my entire life; it has nothing
to do with reality!” That all changed one day when I visited the library and—in
the children’s section—found 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 how do i spell check?word.
My advice to readers, then, is to keep trying different kinds of books until you
find a genre that appeals to you. No one can force you to love reading, and
you’ll never truly enjoy it until you find a book that touches you.
As for aspiring authors . . . write about what you love the most, otherwise
you'll never have the motivation to complete an entire book, nor will your work
ring true. Learn everything that you can about the technical aspects of your
language. It's like any craft; you must become familiar with your tools. And,
most importantly, find someone who can edit your writing and tell you how you
can improve it.
What writing/publishing advice do you give to aspiring writers of any age?
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.
In your opinion, what is the hardest part of writing a novel? Why?
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.
What advice would you give to those who want to write, but don't know how to
start?
Write about what you love the most, since it will help to keep you inspired
through an entire book. Learn everything you can about the English language, the
tools of the trade. It will save you a lot a pain in editing. And find someone
who can edit your work and tell you what you’ve done wrong, so you can become a
stronger writer.
Do you have any other recommendations for other read aloud books like Eragon? If
so, what are they?
Magician by Raymond E. Feist, The Wizard of Earthsea Trilogy by Ursula K. Le
Guin, The Hobbit by Tolkien, and Mossflower by Brian Jacques.
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?”
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.
Parents’ Comments
Do you think there is anything special you did to contribute to making him a
writer?
While making sure he got a balanced education, we encouraged him to pursue his
interests. We nurtured Christopher's innate curiosity as a child by showing him
how he could find the answers to questions for himself. This developed into a
love of learning--a love that is shared by all members of the family.
Since Christopher was an infant, we read to him. By the age of three he knew his
letters and was beginning to read simple words. Once he discovered that he could
read stories for himself, he became a voracious reader. Weekly trips to the
library were part of our routine. Our home is filled with books and a wide
assortment of magazines, so reading and learning are part of family life.
Tell us a bit about Christopher as a kid. Did he show an early
interest in writing, creating stories and characters?
Christopher was an energetic kid who was happiest doing physical things. He
loved to run in the rain, bounce on the bed, create imaginary battles, and play
in the mud--in fact, cover himself with it.
For most of Christopher’s youth, we lived in the country, so his sister, Angela,
was his constant playmate. They invented all sorts of entertainments for
themselves, tramping through grass and watching wildlife by a river’s edge,
making various crude tools or weapons from sticks and grasses, or playing games
of their invention indoors.
Christopher had a fiery energy and intensity that drove him to act without
thinking of the consequences, for it was the experience of the moment that fully
held his attention. But this same intensity was applied to quiet endeavors, as
well. He would read for hours at a time, and he would stare at the clouds and
dream of adventures, or pet a caterpillar with gentleness.
Kenneth and I homeschooled our children. Since Christopher was an infant, we
read to him. By the age of three he knew his letters and was beginning to read
simple words. Once he discovered that he could read stories for himself, he
became a voracious reader. Weekly trips to the library were part of our routine.
Our home is filled with books and a wide assortment of magazines, so reading and
learning are part of family life.
As a child, Christopher enjoyed writing short fanciful stories. In fact, he
wrote one that tells the story of a boy riding a dragon! He often chose
sumptuous words that created rich mental pictures--and made us shake our heads
in wonder and smile at the unique style of his expression.
While making sure he got a balanced education, we encouraged him to pursue his
interests. We nurtured Christopher's innate curiosity as a child by showing him
how he could find the answers to questions for himself. This developed into a
love of learning--a love that is shared by all members of the family.
When he was ready for high school work, Christopher’s education became more self
directed. We enrolled him in American School, an accredited, 107-year-old
distance-learning school (http://www.americanschoolofcorr.com/) that has
traditionally been used by child actors and children of overseas diplomats. The
downside of this program is that very little writing is required. So for a
period of several years, Christopher wrote no stories.
It wasn’t until after he graduated from the program that he set out to write a
new story. His first couple of attempt to write a story failed after a few
pages; he didn’t know where the plot was going. So he got a few books on writing
and studied them. Here are Christopher’s words, taken from previous interviews,
on the process of writing Eragon:
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I’m always engaged in different projects. After I graduated from high school at
fifteen, I needed something to do, so I decided to write a story. I just didn’t
know how big of a project I had tackled!
I wanted to write a story that I would enjoy reading myself, using elements from
fantasy books I had read growing up, plus ideas of my own. Stories are one of
the most important things in my life, whether in music, movies, or books, so it
was only natural that I ended up telling one of my own.
It took me a year to write the first draft of Eragon, a year to write the second
draft, and a third year to edit the manuscript. The high points, I think, were
seeing a story that I had dreamed and planned about coming alive on the page and
then actually finishing the book; nothing can compare to that feeling!
The low points came during the editing, when I wasn’t sure if I could finish the
book and if it was any good. And I wondered what would happen even if it was
finished. When those doubts consumed me, I nearly abandoned Eragon. Several
times, in fact, it was only my parents’ encouragement that persuaded me to
continue. They thought that I had something worthwhile and that I should finish
it. How could I ignore them?
When I wrote Eragon, I was just trying to write a story that I would enjoy
myself—not to get it published, and not for someone else to read. Later on, I
did hope that enough people would enjoy and buy Eragon to allow me to continue
to write, but I never expected it to reach the levels that it has. It’s amazing!
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