WHEN I WAS STILL a teenager, only a few years older than Tim Hunter is in the book you are holding, I decided it was time to write my first novel. It was to be called Wild Magic, and it was to be set in a minor British Public School (which is to say, a private school), like the ones from which I had so recently escaped, only a minor British Public School that taught magic. It had a young hero named Richard Grenville, and a pair of wonderful villains who called themselves Mister Croup and Mister Vandemar. It was going to be a mixture of Ursula K. Le Guin’s A Wizard of Earthsea and T. H. White’s The Sword in the Stone, and, well, me, I suppose. That was the plan. It seemed to me that learning about magic was the perfect story, and I was sure I could really write convincingly about school.
I wrote about five pages of the book before I realized that I had absolutely no idea what I was doing, and I stopped. (Later, I learned that most books are actually written by people who have no idea what they are doing, but go on to finish writing the books anyway. I wish I’d known that then.)
Years passed. I got married, and had children of my own, and learned how to finish writing the things I’d started.
Then one day in 1988, the telephone rang.
It was an editor in America named Karen Berger. I had recently started writing a monthly comic called The Sandman, which Karen was editing, although no issues had yet been published. Karen had noticed that I combined a sort of trainspotterish knowledge of minor and arcane DC Comics characters with a bizarre facility for organizing them into something more or less coherent. And also, she had an idea.
“Would you write a comic,” she asked, “that would be a history of magic in the DC Comics universe, covering the past and the present and the future? Sort of a Who’s Who, but with a story? We could call it The Books of Magic.”
I said, “No, thank you.” I pointed out to her how silly an idea it was—a Who’s Who and a history and a travel guide that was also a story. “Quite a ridiculous idea,” I said, and she apologized for having suggested it.
In bed that night I hovered at the edge of sleep, musing about Karen’s call, and what a ridiculous idea it was. I mean…a story that would go from the beginning of time…to the end of time…and have someone meet all these strange people…and learn all about magic….
Perhaps it wasn’t so ridiculous….
And then I sighed, certain that if I let myself sleep it would all be gone in the morning. I climbed out of bed and crept through the house back to my office, trying not to wake anyone in my hurry to start scribbling down ideas.
A boy. Yes. There had to be a boy. Someone smart and funny, something of an outsider, who would learn that he had the potential to be the greatest magician the world had ever seen—more powerful than Merlin. And four guides, to take him through the past, the present, through other worlds, through the future, serving the same function as the ghosts who accompany Ebenezer Scrooge through Charles Dickens’s A Christmas Carol.
I thought for a moment about calling him Richard Grenville, after the hero of my book-I’d-never-written, but that seemed a rather too heroic name (the original Sir Richard Grenville was a seacaptain, adventurer, and explorer, after all). So I called him Tim, possibly because the Monty Python team had shown that Tim was an unlikely sort of name for an enchanter, or with faint memories of the hero of Margaret Storey’s magical children’s novel, Timothy and Two Witches. I thought perhaps his last name should be Seekings, and it was, in the first outline I sent to Karen—a faint tribute to John Masefield’s haunting tale of magic and smugglers, The Midnight Folk. But Karen felt this was a bit literal, so he became, in one stroke of the pen, Tim Hunter.
And as Tim Hunter he sat up, blinked, wiped his glasses on his T-shirt, and set off into the world.
(I never actually got to use the minor British Public School that taught only magic in a story, and I suppose now I never will. But I was very pleased when Mr. Croup and Mr. Vandemar finally showed up in a story about life under London, called Neverwhere.)
John Bolton, the first artist to draw Tim, had a son named James who was just the right age and he became John’s model for Tim, tousle-haired and bespectacled. And in 1990 the first four volumes of comics that became the first Books of Magic graphic novel were published.
Soon enough, it seemed, Tim had a monthly series of comics chronicling his adventures and misadventures, and the slow learning process he was to undergo, as initially chronicled by author John Ney Reiber, who gave Tim a number of things—most importantly, Molly.
In this new series of novels-without-pictures, Carla Jablonski has set herself a challenging task: not only adapting Tim’s stories, but also telling new ones, and through it all illuminating the saga of a young man who might just grow up to be the most powerful magician in the world. If, of course, he manages to live that long….