Cecilia Dart-Thornton

Melbournite Cecilia Dart-Thornton is one of Australia’s top fantasy writers, with several lengthy fantasy series under her belt since she was discovered on the internet and a publisher snapped her up at the beginning of this decade.

Her debut series, The Bitterbynde Trilogy is packed full of interesting ideas and creatures drawn from traditional European folk tales and legend, as well as a hint of romance. You can find Keeping the Door‘s review of the first book in the series, The Ill-Made Mute, here.

Dart-Thornton’s second series, The Crowthistle Chronicles, concluded in 2007 with Fallowblade. The series is similarly concerned with Celtic folklore.

But Dart-Thornton isn’t a one-dimensional persion; she has various other areas of her life that are important to her. The author, according to Wikipedia, is a keen supporter of animal rights and wilderness conservation, and is also interested in clay culpting, performing folk music, and even digital media. We conducted an email interview with Dart-Thornton to find out what’s up and what’s next.

With The Crowthistle Chronicles finished, what can you let slip about new projects you’re working on?

I can let slip that my projects are too many and too few. Too many in that as ever I find myself inundated with ideas for stories, but too few in that I have pieces of unfinished work all over the place, because my muse currently appears to have attention deficit disorder. I have always been a writer who’s carried on the waves of passion and spontaneity. If I feel like writing, I write. If not, I don’t. Forcing myself to write kills creativity and leads to a lack-lustre result. If I feel charged with excitement about a story I’ll want to do nothing *but* write.

Recently, however, I have been so taken with new ideas (not always associated with writing) that I have not been seeing old ones through to their conclusion. So there you have it. I may never finish anything again, and if so, ‘c’est la vie’. The world will have to content itself with seven finished novels, a couple of short stories and half a dozen unfinished manuscripts from me!

Having said that, my novella The Enchanted will be coming out next year in an anthology tentatively titled Australian Legends of Fantasy, edited by Jack Dann and Jonathan Strahan. Harpercollins will be publishing it.

(Postscript: being a fully paid-up nerd, one of the projects that I’ve been dabbling in is web design, so feel free to take a look at my lovely new website at http://www.dartthornton.com/ and my webshop at http://www.my-bookcafe.com.)

When reading The Bitterbynde Trilogy, I was struck by the lush language you used in describing your created world. Where did you pick up so many words that we rarely (but probably should) use in the English language?

Ever since childhood, when I read (experienced would be a better term) the Narnia books and then The Lord of the Rings, I have always wanted to create a world of my own. When I was writing Bitterbynde I knew that this was it, and I wanted to pour everything into it – my obsession with languages, my fascination with meteorology, with the seasons, botany, flight, geology, customs and traditions, folklore… all that I loved would go into the making of this world.

In my ‘spare’ time I paint pictures in oils, and when writing The Bitterbynde Trilogy I felt like an artist trying to capture my inner world with words instead of paints. And I wanted to use every shade on the palette that I could possibly blend.

Shakespeare, one of my literary heroes, had an extraordinary vocabulary. ‘About.com’ says, “While most English speakers can boast of a 4,000-word vocabulary, Shakespeare’s vocabulary spanned over 29,000 words.”

Given the quarter of a million words that make up the English language (depending on one’s definition of ‘word’1), I thought, why not use them as they were meant to be used? Why restrict yourself to ‘red’ when you could have nuances of ruby, garnet, scarlet, crimson, amaranth, carmine, vermilion, alizarin and more? Why stick to buttered toast when you could have a twenty course feast? Why not add yet another rhetorical question and consider dipping one’s toe in a puddle as compared to splashing and diving in a life-size champagne fountain?

For years it’s been my habit to read dictionaries and thesauri for recreation so I was able to indulge myself most luxuriously. And self-indulgence was what the creation of The Bitterbynde sprang from. I delighted, too, in resurrecting a number of archaisms that appealed to me. I am a hoarder, not a discarder, and it galls me to think of perfectly good words falling out of use.

Your books so far seem to draw on much Celtic and broader European folklore – but not necessarily the traditional Tolkienesque tropes of the fantasy genre. Do you anticipate that you will continue to be fascinated by this area of myth, or can you see yourselve using different settings?

The folklore of the United Kingdom and Eire is a life-long love, for me. I can never visualise myself losing interest in it. Discovering some new creature or traditional tale still makes the hairs on the back of my neck rise. Nonetheless, one of the part-finished works in my ‘filing system’ deals with creatures inspired, instead, by Biblical myth. I would hesitate to write about elves, dwarves and orcs, because The Lord of Fantasy has already done so, and in short, none can compare. The rest of us are simply Not Worthy.

It’s rare that we find an Australian fantasy author whose work is so well-developed (Keeping the Door is based in Sydney). What is your opinion of the Australian fantasy author scene, and what can be done to improve it?

Hmm. You know Renai, I have a really nice back garden. Visitors exclaim over it because it is a flourishing edible landscape of real beauty and productiveness. But no one ever asks me my opinion on the Australian gardening scene. Thank goodness – because I might be okay at looking after my own patch but I have very little idea of what other people are doing in theirs. (Except when a dose of curly-leaf blows in on my nectarine tree and I know that gardeners nearby haven’t been using Bordeaux Mixture).

I do know that writers such as Alison Goodman and Trudi Canavan have been spectacularly successful internationally, and I have a smattering of other knowledge, but I find it hard to read any fantasy these days a) in case I unconsciously pick up someone else’s ideas and b) because I find myself making technical judgements instead of losing myself in the story.

I do feel that the Internet has made us all more global than local and that there is no reason why an Australian writer should have more or less of a chance to become successful than writers anywhere else.

Critics of your work have negatively focused on the plot and character development in your novels, while praising your descriptive and world-building skills. How would you respond to such criticism?

Renai, it was *you* who said this in your ‘Ill-Made Mute’ review! “…it is in this world that the strength of The Ill-Made Mute lies. …in comparison, the plot and characterisation displayed in the book are somewhat lacking. … I felt they were a little one-dimensional.”

[Editor's note: Fair point!]

And I have no argument. When I wrote the trilogy I was writing it for an audience of one – myself. I wrote the whole trilogy – more than half a million words – not knowing whether it would ever be published. After it was finished I did not show it to anyone for months, and then I only let a close friend take a look. Long afterwards I decided to reveal it to the world, and if the world had rejected it, I would have been disappointed but not shattered. I had done what I set out to do and that would have been enough.

While I like people, I am not consumed by curiosity as to their motives, their idiosyncrasies, their quirks and characteristics. Of course people interest me, but so does the wide world with its myriad surprises. My desire was not to explore characters so much as to discover this virtual world. I make no apology for that. I have never done a course in creative writing and at that stage did not know that writers are ‘supposed to’ develop characters and make stories character-driven.

I did not know that we are not ‘supposed’ to indulge in long descriptions, nor that the literary community largely considers it a grievous error to employ ‘said-bookisms’. I was writing by instinct, not according to the manual. Even my wide vocabulary, I learned later, might normally have proved a stumbling block in the path to publication.

Three of the characters in particular did interest me, and these are the ones best-beloved by readers. They are Ashalind, Thorn and Sianadh. People tell me they *love* these three; that they have wept and laughed with them and cared deeply for them. And yes, the other characters probably were one-dimensional. As for the plot – I had no idea where it was taking me. But it must have had something going for it because well before the final book was due to hit the shops I had received hundreds of email begging for it to be released earlier, and it had to be re-printed in the first week of publication.

I feel that some of the ideas in your books have been gently subversive in the fantasy genre; for example, themes against animal cruelty. Did you set out to provoke discussion in some areas, even subtly?

‘Gently subversive’ is probably something of an understatement. I would tend to use an analogy involving a hammer. There was not a lot of subtlety about it. Yes I was aware that people would probably resent being preached at about animal rights in the Crowthistle Chronicles, but unfortunately for me I am a person whose conscience makes her do what seems to be the right thing even when it is against her own interests.

The fantasy genre as a whole appears to be expanding and taking on new life as so-called urban fantasy (vampires, werewolves in modern life etc) is attracting a lot of attention. What is your reaction to the strong challenge posed to traditional fantasy tropes by urban fantasy?

Bring it on! The more fantasy the better; it’s enriching the genre. I wouldn’t consider urban fantasy as a challenge – it’s more of an augmentation. Buffy? Can’t get enough. Twilight? In all likelihood I would have swooned over it as a teenager.

Over the years, have you gotten a feel for what kind of reader is typically attracted to your books?

The kind of person who resembles me. The kind of person who loves the pre-Raphaelite artists, the romantic poets, the classic authors and movies such as Labyrinth, Willow and The House of Flying Daggers; people whose inner life is set in some misty European-type landscape of snow-capped mountains, dark forests and fast-flowing rivers; people who are kind, intuitive, creative and of course *highly* intelligent with *superb* taste in literature.

What have been your favourite books that you have read over the past several years?

I recommend a book of short stories by Kelly Link called The Wrong Grave. Yes it is fantasy, which I’ve mentioned I normally avoid, but the publishers were kind enough to send it to me for review, so I gave it a look and was truly delighted. During the past few years I’ve greeted Jonathan Strange and Mr Norell with rapture, and I am always ready to devour any of Pratchett’s Discworld books.

I choose to read ‘popular nonfiction’ by people like Simon Winchester, Victoria Finlay and Dava Sobel. I like a good Bill Bryson too, but just to show I’m not *all* about erudition and hilarity I recently enjoyed The Forest of Hands and Teeth by Carrie Ryan, a thrilling zombie romp-in-the-woods.

Could you describe your writing environment (eg desk, computer, room etc)?

A second storey room with a huge window overlooking my leafy garden which is filled with singing birds. Green boughs overhang my balcony. I write at my best among tree tops. I theorise this is something to do with humanity’s ape-like ancestors seeking the heights for shelter; some residual pre-historic gene I ended up with.

There are books and mess strewn everywhere throughout the room, not by my choosing but because I am a hoarder with too many interests. I would prefer uncluttered tidiness but it doesn’t happen to me. Besides, I need my precious books near at hand for reference and entertainment.

Décor colours are calm yet invigorating – a kind of pale peachy-apricot shade. Colours are important. Sunlight is important, and birdsong is vital. (Human music is banned.) Blowing leaves are vital, too. In fact in my ‘baby book’ my Mum recorded that one of my favourite occupations at the age of a few months was to lie in a bassinet in the garden and stare at blowing leaves.

I work on a notebook computer and if any computer company out there would like to sponsor me I’ll say I’m using theirs. Except that now I’ve completely blown my chance as everyone will know I was ready to say *anything* in return for a deal. What a sellout…

Anyway, back to search engine optimisation now. Thanks for interviewing me Renai, it’s been a pleasure!

Cecilia Dart-Thornton‘s The Ill-Made Mute is a charming book packed full of interesting ideas and creatures drawn from traditional European folk tales and legends, with more than a hint of the romantic touch that is speedily gaining popularity in the fantasy genre.

First published in 2001 (we’re coming to it a bit late), the Australian author has managed that most touchy of tasks; to successfully create a complete fantasy world not dependent on the common fantasy tropes of dragons, swords and magic (though these are to be found within its pages).

Instead, the world of The Ill-Made Mute, the first book in The Bitterbynde series — is one that is inhabited by all kinds of “wights”; creatures that Dart-Thorntorn drew from traditional myths and legends. Goblins, one-legged giants, swan-maidens, waterhorses and fairies; this book has them all. This world also has more than a hint of early technology to push it forward and distinguish it from the purely fantastic.

The lead character of the book is, as its cover suggests, a mute; “a scarred and utterly despised foundling” without even a name. This character, an adult but without even a wisp of memory of its origins to call its own, finds itself rescued out of the cold and torturous night and put to work as a drudge in the poorest levels of a massive tower, the upper levels of which play port to ships and horses that mysteriously float upon the winds as easily as normal ships on the sea.

The world outside, it seems, is haven to all kind of “eldritch”, or magic” monsters that the tower servants can only tell tales of with a kind of fearful thrill and sometimes dread.

On its surface, then, the book’s plot is a stereotypical one in the fantasy world; the main character attempts to discover their past, through whatever means necessary. The question of who you are, of course, is one that will necessarily take up much of the time of any individual in any age.

For the ‘Ill-Made Mute’, this involves leaving their tower sancturary. But what next? And what will become of them in such a dangerous world?

I’m not sure to what extent it was deliberately constructed in this way by Dart-Thornton, but there is no doubt that readers of the book will find themselves often as confused and confronted by the world as her lead character is. There are so many ideas, creatures, and people packed into its pages that you’ll often find yourself crying out for more information. How do the ships and horses fly upon the wind? Which kinds of magic are real, and which just a fraud? And many other questions like this.

And of course, with no memories, these are exactly the questions that the main character should be asking; and thus this works well as a device for engrossing the reader. In this way, Dart-Thornton has provided an ideal way for readers to begin to understand the complex world she has created; even if at times it is a little confusing.

It is fortuitous, then, that it is in this world that the strength of The Ill-Made Mute lies. Such fascinating stories its denizens have! Such crazy habits they exhibit! Such a wondrous daily existence its normal citizens lead!

I say this because in comparison, the plot and characterisation displayed in the book are somewhat lacking. Without going into too much detail about what sort of character the main lead is, or about those around her, I felt they were a little one-dimensional.

Unlike more complex authors such as Robin Hobb or Patrick Rothfuss, Dart-Thornton tends (in this book, at least!) to pick one or more attributes and let her characters exemplify those, rather than displaying more multifaceted sides to themselves. Their interactions, then, become more than a little predictable, even if this does lend the book humour at times.

Cecilia Dart-Thornton

This lack of complexity also extends to and in some ways shapes the plot; the lack of complexity in the author’s characters means I could often predict the gross outlines of the actions they would take in given situations; and predict their reappearance in the plot down the track as they weave in and out of the view of the main character.

And there is also the problem that at times the plot does repeat itself and not do much to advance the characters. Changing events change people; that’s a reality of life. But not so much in The Ill-Made Mute. At times, the plot can seem like little more than a thread designed to showcase and illustrate the sparkling world that Dart-Thornton has created.

It does hint at a grander design, but I suspect that more of that will come to light when I get on to the second book of The Bitterbynde: The Lady of the Sorrows. I can feel some carefully constructed revelations coming up :)

While these problems of plot and character do stop The Ill-Made Mute from becoming a masterpiece of fantasy fiction, in no way let this criticism stop you from reading the book. It remains a fascinating novel that will often enchant the reader and lift their heart.

As mentioned earlier, you will find romance as well as light action throughout its pages. This means it will be a solid and rewarding read for both lovers of light fantasy as well as those of us who prefer darker fare along the lines of Janny Wurts.

At times I smiled and laughed out look at Dart-Thornton’s creations, and at times my heart went out to its main character and her struggles. This is a book worthy of a place on any fantasy fan’s shelf.