"I'm trying to make all the characters change and grow, or regress"
About this Quote
Fantasists get accused of writing comfort food: static heroes, reset-button arcs, endless sequels that keep beloved characters safely preserved in amber. R. A. Salvatore’s line pushes back on that expectation with a blunt craft ethic: in a long-running, world-building-heavy series, stasis is the real danger. “Change and grow” is the obvious promise. The slyer move is “or regress,” a phrase that admits something genre fiction often sanitizes: time doesn’t just refine people; it corrodes them, too.
The intent is practical as much as philosophical. When you’re shepherding characters across multiple books, plot can’t be the only engine; psychology has to generate momentum. Growth creates earned competence, new moral priorities, altered relationships. Regression creates friction: trauma reasserting itself, power turning into entitlement, grief curdling into cruelty. Salvatore signals he’s not just tracking levels and loot; he’s tracking consequences.
The subtext is also a quiet argument about realism inside escapism. High fantasy loves destiny and clarity. “Regress” smuggles in mess: backsliding, contradiction, the humiliating fact that self-knowledge doesn’t permanently fix you. It’s a writer’s permission slip to let a fan-favorite disappoint you, to let a villain become pitiable, to let a hero’s coping mechanisms fail.
Contextually, it reads like a response to the franchise conditions of modern fantasy publishing: audience attachment, brand continuity, the temptation to repeat what sells. Salvatore frames character change as a moral obligation to the reader’s intelligence. If the world keeps moving, people should too.
The intent is practical as much as philosophical. When you’re shepherding characters across multiple books, plot can’t be the only engine; psychology has to generate momentum. Growth creates earned competence, new moral priorities, altered relationships. Regression creates friction: trauma reasserting itself, power turning into entitlement, grief curdling into cruelty. Salvatore signals he’s not just tracking levels and loot; he’s tracking consequences.
The subtext is also a quiet argument about realism inside escapism. High fantasy loves destiny and clarity. “Regress” smuggles in mess: backsliding, contradiction, the humiliating fact that self-knowledge doesn’t permanently fix you. It’s a writer’s permission slip to let a fan-favorite disappoint you, to let a villain become pitiable, to let a hero’s coping mechanisms fail.
Contextually, it reads like a response to the franchise conditions of modern fantasy publishing: audience attachment, brand continuity, the temptation to repeat what sells. Salvatore frames character change as a moral obligation to the reader’s intelligence. If the world keeps moving, people should too.
Quote Details
| Topic | Writing |
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