demigods and magicians renaissance learning test

I would say it is more like action than violence. It is very important to me that the violence is stylised and is not translated in a graphic manner. How do you decide where to pitch the level of violence? The villains and heroes in your books are fairly destructive, variously blowing up landmarks such as the British Museum and the New York Met. We are still struggling with the same things, so they fit neatly into the modern world. These myths are universal and are totally ingrained in our culture.

With a lot of them it is easy to imagine the modern context by, say, having Aries riding on a motorcycle. I modify all the myths I use, but I stick very closely to their structure – it is the hidden teacher in me. I tend to think of a myth and then explore how it would play out if it were happening in the modern-day world. Do you look back at your old texts to decide which myths to mine for stories, or do you spot things around you that have echoes in the ancient world? You taught classics in schools for 15 years. Children relate to gods because they are really parental figures, who make mistakes and who seem very capricious. These gods and heroes may have powers, but they get angry and they do the wrong thing. They appeal to children for much the same reason. To a degree, the Greek and Roman mythological heroes are just the first superheroes. Why do you think there is such an inexhaustible appetite for stories about the whims of the gods? You are known as the Myth Maker because you have popularised ancient myths in Percy Jackson series, the Kane Chronicles, about Egypt, and the Heroes of Olympus series.

Demigods and magicians renaissance learning test