Word Counts in Sword & Sorcery

I’ve been gone for a while and have to admit that I’ve been nothing related to writing fantasy in the meantime. But recently I’ve been feeling like trying to get back on this horse and with InaNoWriMo coming up it’s seems a good time to stretch my fingers again.

One of the first things that came up was what word count to aim for. Sword & Sorcery is my style anyway, and with the classic story format being relatively short compared to common fantasy novels it seems like a good reference point for what I might realistically be able to get written down.

Some years ago I hunted down the word count numbers for the great classics of Sword & Sorcery and some other of my favorites, and I just realized that I never put them on this site. So here they are:

Conan by Robert Howard:
  • The Phoenix on the Sword: 8,823
  • The Scarlet Citadel: 15,446
  • The Tower of the Elephant: 9,726
  • Black Colossus: 14,346
  • The Slithering Shadow: 12,897
  • The Pool of the Black One: 11,252
  • Rogues in the House: 9,676
  • The Frost Giant’s Daughter: 3,284
  • Iron Shadows in the Moon: 12,123
  • Queen of the Black Coast: 11,334
  • The Devil in Iron: 12,292
  • The People of the Black Circle: 30,890
  • A Witch Shall be Born: 16,337
  • Jewels of Gwahlur: 17,167
  • Beyond the Black River: 21,799
  • Shadows in Zamboula: 12,146
  • The Hour of the Dragon: 72,375
  • Red Nails: 30,946
Fafhrd and the Gray Mouser by Fritz Leiber:
  • The Jewels in the Forest: 14,215
  • The Bleak Shore: 4,272
  • The Howling Tower: 5,855
  • The Sunken Land: 6,900
  • Thieves’ House: 12,235
  • Adept’s Gambit: 31,901
  • Claws from the Night: 9,410
  • The Seven Black Priests: 9,523
  • Lean Times in Lankhmar: 15,400
  • When the Sea-King’s away: 9,806
  • The Cloud of Hate: 4,929
  • Bazaar of the Bizarre: 9,653
  • Their Mistress, the Sea: 1,316
  • The Wrong Beach: 2,267
  • The Circle Curse: 3,596
  • The Price of Pain-Ease: 4,650
Elric of Melnibone by Michael Moorcock
  • Elric of Melnibone: 48,000
  • The Sailor on the Seas of Fate: 24,000
  • The Weird of the White Wolf: 39,000
  • The Vanishing Tower: 48,000
  • The Bane of the Black Sword: 45,000
  • Stormbringer: 71,000
Hyperborea by Clark Ashton Smith
  • The Tale of Satampra Zeiros: 4,852
  • The Testament of Athammaus: 7,309
  • The Weird of Avoosl Wuthoqquan: 3,203
  • The Door to Saturn: 7,056
  • The Ice-Demon: 6,135
  • Ubbo-Sathla: 2,975
  • The Seven Geases: 7,785
  • The White Sybil: 3,650
  • The Coming of the White Worm: 7,109
  • The Theft of the Thirty-Nine Girdles: 3,901
Kane by Karl Wagner
  • Reflections for the Winter of My Soul: 26,205
  • Cold Light: 29,662
  • Mirage: 10,280
  • Untertow: 11,480
  • Two Suns Setting: 9,453
  • The Dark Muse: 16,654
  • Raven’s Eyrie: 21,922
  • Lynortis Reprise: 14,220
  • Sing a Last Song of Valdese: 5,964
The Witcher by Andrzej Sapkowski
  • The Witcher: 10,213
  • A Grain of Truth: 10,418
  • The Lesser Evil: 12,764
  • A Question of Price: 13,105
  • The Edge of the World: 14,395
  • The Last Wish: 18,349
  • The Voice of Reason: 12,495
  • The Bounds of Reason: 25,538
  • A Shard of Ice: 13,572
  • Eternal Flame: 16,767
  • A Little Sacrifice: 19,557
  • Sword of Destiny: 19,995
  • Something More: 17,574
Various Tales by H.P. Lovecraft:
  • Dagon: 2,216
  • The Lurking Fear: 8,164
  • The Rats in the Walls: 7,974
  • The Shunned House: 10,742
  • The Call of Cthulhu: 11,905
  • The Case of Charles Dexter Ward: 51,112
  • The Colour out of Space: 12,457
  • The Dunwhich Horror: 17,524
  • The Whisperer in Darkness: 26,624
  • At the Mountains of Madness: 40,881
  • The Shadow over Innsmouth: 27,026
  • The Thing on the Doorstep: 10,954

As an interesting fact, all the stories of Conan written by Howard combined are about as long as the average novel in the Wheel of Time or A Song of Ice and Fire series, and only about two third the length of The Lord of the Rings.

Sword or Sorcery?

How can I wear the harness of toil
And sweat at the daily round,
While in my soul forever
The drums of Pictdom sound?

Robert Howard – The Drums of Pictdom

I am a fan of Sword & Sorcery. I am a big fan of Robert Howard’s Conan and completely in love with Karl Wagner’s Kane, and there are a good number of things I really like in Michael Moorcock’s Elric. I also am not much of a fan of what is in this current decade called Epic Fantasy. (Probably going to be named something else again soon.) It’s mostly the 1,000+ page trilogy format that isn’t doing it for me. It’s not so much the number of pages, but the broad scope and also the endless cliffhangers that keep you waiting for answers for years and decades. At the same time, I have searched my feelings and know it to be true, I don’t have the ability to commit to multi-installment works that will leave readers hanging with an unfinished story when I lose interest halfway through. But in Sword & Sorcery you generally get very tight stories with a clear focus on actual stuff happening, combined with a short length format. It was actually my first reading of Conan that made me consider writing as a medium for my creative ideas in the first place. So writing Sword & Sorcery seemed the obvious choice.

But success has been very limited so far, with a long break in which I pretty much forgot about the whole idea entirely. The format of Sword & Sorcery, with it’s length and scope certainly seems like the right one for me, but I am having doubts if it might be the genre that is holding me back. Conan is fun and Kane is great. But while they are both very entertaining characters to read about, it’s more with a morbid fascination. (Which in the case of Kane seems to have been Wagner’s intention.) Everything that they stand for does nothing for me or is outright repulsive. While I consider Conan to be honorable and behaving rational in the environment he inhabits, his values mean nothing to me. And for Kane there is one simple word that perfectly describes him. Evil. Like the Joker in The Dark Knight, observing him is fascinating and I dare say meaningful, it is not the exploration of evil that fuels the flames of my creativity and imagination.

While Robert Howard was a great writer, I am not Robert Howard. The drums of pictdom are not sounding in my soul. Conan is fun, but he is not moving me. Neither daring the world to try to impose its will on me and then crushing it to assert my individual autonomy, nor struggling with living in a society that doesn’t value or respect my personal inner life are things that are reflecting my own ideals and aspirations. The craving for conflict and need to prove my worth that is so central to the Sword & Sorcery genre has nothing to do with what I value and consider meaningful.

Instead, the works that have much more relevance to me are things like Princess Mononoke, Avatar, and The Empire Strikes Back. Which now that I think about it are all about striving to be good and freeing yourself from greed, hatred, and delusion. (It’s all Zuko that interests me in Avatar, I don’t care much for Aang.) Then there is also Raiders of the Lost Ark (which I admit has a lot of pulpy action concealing a much more interesting subplot), Ghost in the Shell, Mushishi, and Seirei no Moribito. And one very significant work for me is Andrzej Sapkowski’s Witcher and the videogame series that expands on it. In many ways, The Witcher exists within the context of Sword & Sorcery. It has all the ingredients, but it doesn’t become a story about a great warrior displying his might and challenging the world to try and fight him. Instead, in many ways, it is a rejection of these things. Geralt is an awesome badass warrior with inhuman powers, but he is a character who looks inward is a compassionate and humble as you can expect a man to be in a world where it’s going out of style. It’s a series I have not been thinking about much in terms of my own writing because the setting has a very medieval European style with a culture in which people are deliberately thinking and acting in the terms of Europeans from the 1990s, while Kaendor is meant to not be just uneuropean but actually unearthly and I want to attempt to portray a different mindeset “inspired” by ancient peoples. But I think thematically it’s actually quite appropriate as a comparison or reference point. In its issues and meanings itis one of the closest works to what is driving my own need to tell stories. And it does so in a world of magic and monsters, which is a really nice bonus.

I am still not entirely sure what shape precisely I want to go for with A Wanderer of Kaendor. But I feel that using Sword & Sorcery (and Raiders of the Lost Ark) as my main reference point has become more of a crutch than a means to go forward. Princess Mononoke might actually be much more helpful as an example for a combination of magic, monsters, action, and stricing to do the right thing and become a better person. (And I even like the scale and scope of that story.)

5 Important Books

A discussion on Fantasy Faction raised the idea to put together lists of the most important books to your aspiration to write fantasy. As a means to get some clarification for yourself to understand what actually drives and inspires you, and to look closer at them to find clues to figuring out what is your prefered style. I first thought it would be very easy to name five books that I really enjoyed a lot, but when it comes to books that have been important and influential, this does actually become a bit harder. In the end I was able to come up with five books that left very strong impressions on me, and of which I feel quite certain that they really are the five most important.

In chronological order:

  1. Jim Button and Luke the Engine Driver by Michael Ende: There are three books by Ende that we had read to us at an early age, which were Jim Button, The Neverending Story, and Momo. All three are amazing books, but in hindsight Jim Button was the one I liked the most. It’s an adventure story that has the heroes travel to many weird places and encounter lots of strange people and experience all kinds of amazing things. And how can you beat character names like Sursulapitschi, Mister Shufulupiplu, and King Alfonse the Quarter to Twelfth. It’s not as bleak and The Neverending Story and Momo, which are highly existential works, though there is still some actually quite heavy stuff going on that was inspired by the Nazis and World War 2.
  2. Heir to the Empire by Timothy Zahn: This book isn’t on this list because of it’s quality, but for the impact it had on me as a fantasy fan. I never make a secret of how massive an influence Star Wars has had on me, and during those great years in the 90s I was also reading a good number of books in addition to playing lots of games. I think when the new movies came out, me and my brother had read about all the novels that had been released in German up to that point, except for those written for children. And among these books there clearly is no contender for the throne other than Heir to the Empire. It was the book that laid the foundation for Star Wars being more than just three fun movies, but a massive setting with a huge body of works. And it was also one of the first that we got. And in addition to that, it also is actually a really decent book. It’s good and still quite fun to read. I’ve read it again a while back but still somehow have not turned my extensive notes I took into a proper review.
  3. Conan by Robert Howard. All the Conan stories fit neatly into a single volume which is why I am treating them as one book here. Conan is the starting point of Sword & Sorcery and set the gold standard by which any other works are still being measured. The scale goes from 0 to Conan. Despite being the first real Sword & Sorcery series (though Howard’s proto-Conan Kull did get two story released a few years earler) it set a standard that has never been reached again. Really, what can you say about Conan? It’s amazing. Reading Conan was what got me into Sword & Sorcery and also gave me the inspiration to try writing myself as it shows how great a story can be within a format that I feel I could be able to tackle myself.
  4. Death Angel’s Shadow by Karl Wagner: While Conan has never been rivaled, Kane is perhaps the one that ever came the closest. Death Angel’s Shadow was the first Kane book that I read and I was nothing but amazed by it. Reading Conan made my love Conan. Reading Kane made me love Sword & Sorcery. Hard to describe the greatness of this series in a few sentences, so I am simply linking to the three full reviews I did here.
  5. The Last Wish by Andrzej Sapkowski: I encountered the Witcher in the first game adaptation of the series and was so impressed by it that I eventually gave a try to the books. The first one of which is The Last Wish. Like the previous two works I listed, this book is a collection of stories but one that acually has a very tight chronological order that give it more of an episodic character than a collection of different works. It’s a really damn good book. The series has the best written characters I’ve encountered in a book so far, really no contest there. Like Conan and Kane, it’s also quite existential, which makes the conflicts the characters find themselves in feel so much relevant and meaningful. As with the previous series, I’ve written four reviews about it so far.

Looking at the completed list, I noticed something that really doesn’t surprise me at all. Except for the first entry, all the others are from series that I have given their own categories for posts here. And they are the only four series that I have treated that way. Looking at the categories list on the right could have speed this up by a bit.

My favorite style of fiction I never knew I had

Having recently seen Drive and looking around for interpretations about it, I came upon a term that I had never really paid much attention to.

Neo-Noir.

What is Neo-Noir? It really is pretty much the same as Noir except that it’s used for works made from the 80s forward instead of up to the 60s. Other good recent examples are basically the whole Nolan movie catalog, with Inception and The Dark Knight standing out prominently. (Memento and Insomnia also really look like it, but I have not seen them yet.)

Inception is my second favorite movie of all time, beaten only by The Empire Strikes Back. And when you stop and think about it, that movie also has Noir aesthetics all over it. Pretty much everything happening in Cloud City is prime Noir material.

Looking back at it, the first works of this style that I really fell in love with were Blade Runner and Ghost in the Shell (including the TV series). Of course, you could argue that these are perhaps the two biggest cyberpunk movies ever made. But what is cyberpunk other than Noir with futuristic elements?

Which reminded me of Mirror’s Edge, one of my favorite videogames that I’ve always been thinking of as “cyberpunk without the futuristic elements”. Yeah, once you consider Neo-Noir to be a distinct category, it falls perfectly into it. The socially isolated protagonist living in a blurry gray world on the edge of legality. Characters looking for meaning in a heartless world and coming to bleak realizations about their own lives. And they hang out in a place that looks like this.

And suddenly it all came together: Mass Effect 2 is also a work of Neo-Noir. The first game had already blown my mind, but I was amazed when I came out to the street on Omega. And never had a game felt so perfect as when I first stepped through the door into Afterlife. It is my favorite game of all time, with no contenders.

After the really cool opening and time jump, the game starts with the Illusive Man smoking in a dark room with his Femme Fatale henchwoman Miranda next to him. I could write a whole article about that. (And I probably will, eventually.)

It might be a bit of a stretch, but I feel that there are at least a great deal of thematic elements of Noir in the Witcher books. The world went to crap, there’s no justice, characters with questionable morales are trying to do the right thing when dealing with those who are morally bancrupt, and there’s always a slight doubt that maybe everyone getting conquered by the Empire might not be the worst idea. And while it would probably be a bit nonsensical to call Bound by Flame a noir fantasy game, the mood of dignified despair is certainly there.

Bonus content: All my favorite episodes of Star Trek: Deep Space Nine. You know, basically everything with Garak in it. (The Wire, Improbable Cause/The Die is cast, and In Pale Moonlight stand out.) And then there is Hellboy, Thief, The Big Lebowsky, Leon the Professional, True Detective, and Breaking Bad. I think it’s probably much harder for me to come up with a list of amazing movies, videogames, and TV shows that don’t have a strong Neo-Noir aesthetic.

It comes as a bit of a surprise after all these years that there’s an umbrella term that encompasses pretty much my entire top list of greatest works of fiction ever made. But then, many of the works I mentioned are considered to be really great by a lot of people around the world, so it’s not like this is a style that hasn’t proven itself over the past decades. The period of their making also started just before I was born, which probably isn’t a coincidence either. It’s a style that I’ve been exposed to all my life. While the aesthetics of Noir and Neo-Noir are generally pretty easy to pin down, definitions of the genre are usually rather blurred and unclear. Yet at the same time, works tend to fall into a pretty narrow band of stories. Socially isolated protagonists who are living with one foot in prison and one foot in the grave whose lives have become empty and who are searching for any kind of meaning in their seemingly bleak worlds. Sometimes they catch a faint glimer of hope they can pursue, other times they doom themselves.

Questions about identity and filling an inherently meaningless existence with meaning are the basic foundations of Existentialism, which to me is really the only thing worth exploring in a story. I’ve been watching, reading, and playing stories of this type for all of my adult life and so I probably already do know most of what there is to know about it on an intuitive level. But as someone interesting in writing my own stories this seems like a great opportunity to refocusing my research.