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Judson Roberts: “A slave … set upon the path to becoming a great warrior”

Interviews

Judson Roberts is a former organized crime prosecutor and current full-time writer living in Texas. His series of historical novels set among the Vikings, The Strongbow Saga, was originally published by HarperCollins and is now finding even greater success published through Roberts’ own Northman Books. This Codex Blog Tour interview considers violence in novels, Roberts’ fascination with Viking culture, and young adult versus adult fiction.

Your book series, The Strongbow Saga, follows the fortunes of a Viking thrall-turned-warrior. What spurred your fascination with this time period and character?

My first efforts at a novel, which spanned a number of years but did not result in anything publishable, were focused on writing a contemporary mystery/thriller, trying to follow the advice “write what you know”–I’d spent most of my adult life working in law enforcement. After hearing novelist Bernard Cornwell speak at a conference, though, I started thinking about writing a historical novel. I’d been fascinated by the Vikings as a child, and at the time there was very little fiction out there set during the Viking period, so that seemed a likely period to focus on.

I devoted about a year to in-depth research before I even considered beginning to write. That led me to realize that my childhood perceptions of the Vikings, based on such sources as the old Hollywood movie The Vikings starring Kirk Douglas and Tony Curtis, had been quite inaccurate. Although many Viking-age Scandinavians did engage, at least occasionally, in organized piracy, they were far from the primitive, fur-clad barbarians of popular perception. I came to realize that they in fact had a highly developed culture that in many ways resembled that of the ancient Mycenaean Greeks of Homer’s Iliad. Moreover, I discovered that much of what we consider today to be concepts, rights, and heritage derived from medieval England had in fact originated with the Viking–things set down in the Magna Carta like the right to a trial by jury, a belief in an individual’s right to freedom, and the concept that even the king (or other central government) was subject to and must obey the law. My plan to write a good story set in a historical period grew into a desire to use that story to portray the Vikings in a more realistic, favorable light than had been done in the past.

Of course, there were challenges in trying to make the Vikings sympathetic to an audience of modern readers, because they did have their dark sides. The Vikings were heavily engaged in the slave trade, for instance. How could the hero of my story have distaste for, and even choose to avoid being involved in, some of the unsavory aspects of Viking culture that the typical Viking would not even question, without making him unbelievable by giving him modern sensibilities? I decided he had to be both a member of the Vikings’ culture and society but at the same time an outsider–a technique that James Clavell used so effectively in Shogun. So Halfdan, the protagonist of The Strongbow Saga, begins the story as a slave, a victim of the Vikings, but through a twist of fate is freed and set upon the path to becoming a great warrior among them.

Did you come up with a particular plan for handling the violence in the books early on, or did you play it by ear?

I didn’t have any plan specifically about violence. It’s very important to me, in this series, to try and portray Viking society and culture as accurately as possible. One of my major research sources has been the Viking sagas. Most of them were put into written form during the early Middle Ages, after the actual time of the Vikings, but they were derived from the Vikings’ strong oral literature tradition. Again, there’s a strong similarity to Homer’s Iliad—both were put into the written form that has survived to the present time centuries after the original stories were first created as oral literature, but archeological and other research has confirmed that there’s a great amount of underlying truth in both the Iliad and in many of the sagas.

What is striking in reading the old sagas is that extreme acts of violence could erupt so suddenly in the Viking culture. It was a fairly violent period of history anyway, and when the Vikings’ touchy sense of honor was added into the mix, it seems that frequently it did not take much of a spark to ignite a deadly confrontation. To draw another parallel, the strong coupling of honor and violence are strikingly similar to the medieval Japanese samurai culture that Clavell evokes so effectively in Shogun. To portray Viking culture accurately, the violent side cannot be ignored, but I tried never to insert gratuitous violence into the story.

Your books were originally marketed by HarperCollins as young adult novels, although my sense is that the series is written with adults in mind first of all. What are your thoughts about the series as young adult versus adult? Is this a meaningful distinction for your work?

When planning and writing the series, it was always my intention to be writing adult fiction. The agent whom I signed with, who was the first agent I’d been able to interest in the book (I had completed book 1 at the time, and had an outline and a very rough, early draft of the next two in the series) after a long and rather demoralizing search, specialized in children’s and teen books, but she assured she handled adult fiction, too. She proved unable to interest any editors of adult fiction in it, though, so after some months asked my permission to try selling the book to young adult fiction editors. I’d never even heard of the term “young adult” before then, but I agreed, and fairly quickly after that she made the sale to the Children’s Division of HarperCollins.

Had my editor there asked me to rewrite the books to make them more suitable for children, I’m not sure how I would have felt or responded. Fortunately, though, she didn’t—she said she felt older teen readers were perfectly capable of reading the books as I wanted to write them, so I continued to write books 2 and 3 of the series as adult fiction. So the “young adult” designation did not in any way affect how I wrote the story of The Strongbow Saga, but it certainly had a major impact on the series in other ways.


Roberts has made an impressively successful transition from traditionally published author to indie self-publisher. In a follow-up interview, we’ll talk about his tactics, expectations, and results in supplanting HarperCollins as the publisher of his own works.

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